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Kendrick Lamar’s Beef With Drake and J. Cole, Explained

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Kendrick Lamar’s Beef With Drake and J. Cole, Explained

Things weren’t always this tense between Kendrick Lamar and Drake. On March 25, the former shook the foundation with his uncredited verse on Metro Boomin and Future’s “Like That,” a cut included on the pair’s freshly released collaborative album “We Don’t Trust You.”

The internet immediately lit up: Lamar’s particularly fiery verse put his issues with other rappers in uncharacteristically plain terms, very clearly taking shots at Drake and J. Cole in response to their song “First Person Shooter,” included on last year’s “For All the Dogs.” On the track, Cole lumped Lamar with himself and Drake as the “big three”: “Love when they argue the hardest MC / Is it K. Dot? Is it Aubrey? Or me? / We the big three, like we started a league.”

In a tightly wound, entendre-replete, machine gun verse, Lamar fired back by refuting the designation and setting himself apart from his peers and former collaborators. “Yeah get up with me, fuck sneak dissing / ‘First Person Shooter,’ I hope they came with three switches,” he raps. “Motherfuck the big three, n—a, it’s just big me.” To add insult to injury, he referenced the contentious relationship between Michael Jackson and Prince, comparing himself to the latter and stating that his legacy will outlast their influence. “Your best work is a light pack / N—a, Prince outlived Mike Jack / N—a, bum, ‘fore all your dogs get buried / That’s a K with all these nines, he gon’ see ‘Pet Sematary.’”

It makes sense that Lamar would use his appearance on Metro’s new record as a platform to air his grievances — after all, Drake and Metro have recently had their own public reckoning. The two have worked together in the past — Metro helmed the majority of the tracks on Drake and Future’s 2015 album “What a Time to Be Alive” — but something shifted between the two in the years that followed.

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Here’s where the speculation comes in. Some surmise that the lack of a promised sequel to “What a Time” led to bad blood; Drake instead released “Her Loss” in 2022, which did include a Metro production credit on “More M’s.” But others trace the first true indicator of tension to Metro’s song “Trance,” included on the producer’s 2022 album “Heroes & Villains.” Drake initially had a verse on the track, which features Travis Scott and Young Thug, but Metro removed it prior to album release. The version with Drake inevitably leaked; some think Drake himself released it as retaliation. Then, this past December, Metro tweeted and deleted that “‘Her Loss’ still keeps winning rap album of the year over [‘Heroes & Villains’]. Proof that award shows are just politics and not for me.” Drake went on a livestream soon after, shouting out the “tweet-and-deleters” and saying that “you guys make me sick to my stomach.” Metro unfollowed Drake on Instagram, and the beef simmered.

So it makes sense, then, that Lamar would take this opportunity with “Like That” as a podium for his own grievances with Drake and J. Cole. But it caught listeners off-guard that Lamar would so decisively lay out his issues with the pair. The three came up around the same time, and have consistently been considered foundational for that generation of MCs. They’ve all collaborated, and even went on tour together; Drake gave Lamar his own interlude on his 2011 album “Take Care,” and Cole and Lamar once teased a collaborative project in addition to releasing numerous collabs.

But the three have also long considered rap a competitive sport, and have been vying for the G.O.A.T. title for years. In 2013, Lamar gave a similarly show-stealing verse on Big Sean’s “Control,” also featuring Jay Electronica, where he ran through a laundry list of his peers’ names—Drake and J. Cole included—stating that “I got love for you all but I’m tryna murder you n—s” and asking “What is competition? I’m tryna raise the bar high.” In the years that followed, the subliminals flew, on songs like Lamar’s “King Kunta” and Drake’s “The Language” (hint: if you’re trying to find sneak disses in their discographies, there’s plenty to work with).

It was only a matter of time until their issues spilled into the open with such candor. So where does Future come into all of this? Drake and Future have been very frequent collaborators in the past. Beyond “What a Time,” the two have a huge pile of duets between them, so it came as a bit of a surprise that he’d co-sign Lamar’s verse by including it on “Like That.”

But once that track lit up the internet, fans started looking elsewhere on “We Don’t Trust You” for potential jabs at Drake. One person matched song titles as puns on Drake song titles. Some pointed to Future’s second verse on the album’s intro as a swipe: “You a n—a number one fan, dog / Sneak dissin’, I don’t understand, dog / Pillowtalkin’, actin’ like a fed, dog / I don’t need another fake friend, dog / Can’t be ’bout a ho, ’cause we sharin’, dog / In you feelings, n—a, why you playin’, dog.”

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A bit of unpacking here. On Drake’s “What Would Pluto Do?,” included on “For All the Dogs,” he references Future’s nickname Pluto, stating, “Last time I saw her, she was fuckin’ with my n—a / So the question is, the question is, what would Pluto do? He’d f—k the ho, so I did it.” Not to mention that “in you feelings” could be a reference to Drake’s “In My Feelings.”

While it’s difficult to pinpoint the source of their issues, social media connected the dots to suggest that Drake and Future were beefing over a woman. One user on X (formerly Twitter) suggested that a song on “We Don’t Trust You” referenced the woman in question; Metro came in to shut down the theory. “Y’all n—s stop making stuff up for engagement and enjoy the music,” he wrote.

Regardless, Lamar’s verse on “Like That” has officially entered the pantheon of iconic diss tracks, and clearly set off a chain reaction that’s still going strong months later. Rap fans patiently waited for a response, and with the surprise release of his new album “Might Delete Later” on April 5, J. Cole was the first to fire back at Lamar on its closing song “7 Minute Drill.” On it, he dismissed much of Lamar’s catalog and claimed he “fell off like ‘The Simpsons.’”

“The rap beef ain’t realer than the shit I seen in Cumberland / He averagin’ one hard verse like every thirty months or somethin’,” he said, referring to the five-part “The Heart” series that Lamar has rolled out over the course of his career. “If he wasn’t dissin’, then we wouldn’t be discussin’ him / Lord, don’t make me have to smoke this n—a ’cause I fuck with him / But push come to shove, on this mic, I will humble him.”

Drake, meanwhile, has taken a harder approach. He first addressed Lamar’s verse during a brief diatribe during one of his shows. “A lot of people asking me how I’m feeling. The way I’m feeling is the same way I want you to walk out of here feeling tonight about your fucking self,” he told the crowd. “Because you know how I’m feeling? I got my head up high, my back straight, I’m 10 fucking toes down, and feeling like anywhere else I go, and I know no matter what, there’s not a n—a on this Earth that can ever fuck with me in my life.”

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But then, Drake released his first diss track “Push Ups” after an early version of the track leaked to social media on April 13. A high-quality version of the song came later that day, and the rapper officially released it to streaming services on April 19. On the track, he came for Lamar, rapping, “How the fuck you big steppin’ with a size-seven men’s on?” referencing the title of Lamar’s 2022 album “Mr. Morale and the Big Steppers.”

Later on April 19, Drake released a follow-up diss entitled “Taylor Made Freestyle” to his social media profiles, featuring AI verses from Tupac Shakur and Snoop Dogg. On the song, he stated, “World is watching this chess game, but oh you out of moves Dot / You know that the OG never fucking doubted you / But right now it seem like you posted up without a clue / Or what the fuck you ’bout to do.” Soon after, Drake removed the song from social media after Shakur’s estate threatened to sue him.

Lamar took a minute to let the beef simmer, then fired back on “Euphoria,” which he officially dropped on April 30. “You not a rap artist, you a scam artist with the hopes of being accepted,” he rapped. “Tommy Hilfiger stood out, but Fubu had nеver been your collection / Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”

Then, in a surprise move, Lamar hit back with a second diss track in a week with “6:16 in LA,” a play on Drake’s series of similarly titled songs. The tune, which he uploaded to Instagram in the early hours on May 3, came for Drake and his OVO crew and featured production from Jack Antonoff. The producer’s inclusion was considered a chess move from Lamar, whom Drake accused of keeping silent to avoid Taylor Swift’s new album from taking the spotlight. Antonoff produced on that album, “The Tortured Poets Department,” which shattered records in the wake of its release.

Just hours after “6:16 in LA” hit social media, Drake responded on Friday evening (May 3) with “Family Matters,” going after Lamar and flaming him for bringing up his son Adonis. Lamar fired back just moments after with “Meet the Grahams,” where he raps directly to Drake’s family members and suggests that he has a secret daughter. And as if that wasn’t enough, Lamar followed the next day with “Not Like Us,” which accused his foe of pursuing underage girls.

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Will the saga continue? It’s tough to say. This has been going on for months, and Drake and Lamar aren’t slowing down the beef anytime soon. More to come, perhaps, as the tensions rise.

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‘Eddie Cochran: Don’t Forget Me’ Director Kirsty Bell on How Legendary Musician Influenced New Generation of ‘Rock Stars’ Like Yungblud

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‘Eddie Cochran: Don’t Forget Me’ Director Kirsty Bell on How Legendary Musician Influenced New Generation of ‘Rock Stars’ Like Yungblud

When pioneering producer and filmmaker Kirsty Bell set out to make a film about legendary American musician Eddie Cochran, she didn’t want to merely chronicle his brief career. Looking back at the musician’s work, who died while touring the U.K. in 1960, aged just 21, Bell felt she needed to “bring him back to life.” The result of that mission is “Eddie Cochran: Don’t Forget Me,” closing this year’s Raindance Film Festival.

Speaking with Variety ahead of the film’s U.K. premiere, Bell says it was her producer, Ben Charles Edwards, who first brought up Cochran’s name as a possible subject for her next film. At the time, seasoned producer Bell had just taken a major step in her career by directing her feature debut, 2021’s “A Bird Flew In.” “That film came from my brain and my heart, and I knew I wanted to link these two things again,” she says. “I wanted to go on an emotional journey, because that’s how I get my best stuff.” 

Bell, who founded Goldfinch Entertainment back in 2016, knew and loved Cochran’s music, but soon realized she knew very little about his life. “There were so many things that linked him to modern-day music,” she recalls. “I have this pad on my desk where I note down ideas and I just started scribbling thoughts around his name. Suddenly, this mind map of him appeared, linking him basically to everyone and everything that has happened in music after. That blew me away.”

Once Bell decided to tell the story of “trailblazer” Cochran, she knew she would not like to make “an ordinary documentary” just “talking to a bunch of musicians about Eddie’s songs they have covered.” “This is about legacy,” she adds, saying how she set out to work closely with executive producer Michelle Arnusch to secure a wide-spanning selection of talking heads that could reflect Cochran’s impact. One notable figure is actor Kiefer Sutherland, featured heavily in the film as a major fan of Cochran’s work. 

“We wanted to get people who were either deeply influenced by Eddie or who knew him, and Kiefer is a great example because, through my research, I found out he was supposed to have played Eddie in a biopic when he was only 18 or 19 years old,” she recalls. “The film was cancelled, but Kiefer remained a fan. He has such a brilliant mind and is also a musician, so it was perfect. 

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Kiefer Sutherland in “Eddie Cochran: Don’t Forget Me,” courtesy of Fremantle

Joining Sutherland is a roster of major names including Keith Richards, Rod Stewart, John Waters, Roger Daltrey, Cliff Richard and Yungblud. Talking about the latter, Bell says the young English musician “was always on her list,” recalling being at the Royal Albert Hall for one of his concerts before he became a major international star and being astounded by his fans. “All of them looked like they were part of a gang, like they knew something about each other. They were all dressed similarly, all bound together. Before Yungblud became famous, I remember thinking: This is a young Eddie. He’s got this tribe, and they support him wherever he goes. He’s a modern rock star.”

Seeing Yungblud’s fans led Bell to getting access to hundreds of fan letters to Eddie, which became a key component of the film. Form-wise, the filmmaker also knew she wanted to “bring Eddie back to life.” “The only way I could do that was by doing the reconstructions because there is hardly any video footage of him around the world.” She then cast Jack Harris to play Cochran onscreen, recreating key moments of the musician’s life as he went from a budding singer struggling to place singles on the radio to becoming the subject of an Elvis-like mania. 

But none of it would have happened without the support of Cochran’s family, Bell emphasizes. Asked about her relationship with Eddie’s living relatives, the filmmaker says it was “very difficult to start with” because the team “didn’t know the pathway to them very well, and we knew other people had approached them in the past and they refused.” 

Bell then approached famed U.S. entertainment lawyer Sindee Levin, “the Cochran family’s gatekeeper and Hollywood amazingness.” The two had an hour-long first meeting, which led to Levin introducing Bell to Patty Hickey, Cochran’s only living sibling. “We showed them a very early teaser we put together and were sending out to potential contributors, and she just burst into tears.”

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Despite having a warm first welcome, Bell was still anxious to show the finished film to Cochran’s family. “I was terrified for them to watch the film because what if they felt I hadn’t portrayed something correctly? What if they thought I was being insulting or that it wasn’t good enough? That’s why we sent the film to them right away. And they made a family thing out of watching it. We had to wait, and when they came back to say how much they loved it, it was a huge relief because they are the only people I need to please.”

As for closing Raindance, Bell is “astounded” to be asked back five years after “A Bird Flew In” also premiered at the festival. “You think making a documentary might mean it won’t get to a wider audience, but to have someone see it as a bigger thing and to have it close a festival with two major screenings shows you that making independent films is about the product that creates appeal to the widest audience you can get.” The screening is also extra special as Cochran will receive a posthumous Raindance Icon Award, presented to Eddie’s sister and niece, and set to be displayed alongside his original Gretsch guitar and his other trophies at the Rock & Roll Hall of Fame in Cleveland, Ohio.

With “Don’t Forget Me” now making its way around the festival circuit, Bell is back thinking about what’s next. “I’ve written a script for another drama feature, but there are a couple of documentaries that have come my way and have interesting human subjects,” she says. “I obviously got Goldfinch and everything that comes with it, but directing-wise, the next step is to link what I did with ‘A Bird Flew In’ and ‘Eddie’ and see what I can produce that feels like a next level up from that. I am not going to be directing a film every single year, so I need it to be something that will build on both of those.”

“Eddie Cochran: Don’t Forget Me” is produced by Goldfinch Entertainment in partnership with the Cochran family estate and Universal Music Enterprises. Fremantle handles international distribution.

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Death toll from Venezuela earthquakes rises to at least 589, with thousands reported missing

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Death toll from Venezuela earthquakes rises to at least 589, with thousands reported missing

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The death toll from the catastrophic series of earthquakes that rocked Venezuela this week has risen to at least 589, with at least 2,980 injured and thousands more missing as U.S. military leadership has arrived in Caracas to help coordinate relief efforts. 

The number of dead is expected to climb Friday following back-to-back magnitude 7.2 and 7.5 earthquakes that hit northern Venezuela on Wednesday night, roughly 120 miles west of Caracas. 

Venezuelan state TV has broadcast dramatic images of rescues, including a woman who was trapped under a cement slab, only a bare foot poking out before crews managed to get her out alive, The Associated Press reported. The injured were seen being pulled out of the rubble covered in dust and blood, among them children and animals. 

U.S. Southern Command said overnight that U.S. Marine Corps Maj. Gen. Kevin J. Jarrard arrived in Caracas on Thursday “to oversee Department of War support to Venezuela earthquake relief efforts.”

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TRUMP ADMINISTRATION PLEDGES $150M IN AID, DEPLOYS NAVY WARSHIPS AFTER DEADLY VENEZUELA EARTHQUAKES

Neighbors carry a man rescued from the rubble of a collapsed building in La Guaira, Venezuela, on Thursday, June 25, 2026, the day after earthquakes struck the area. (Pedro Mattey/AP Photo)

SOUTHCOM’s announcement comes as the Trump administration has activated a government-wide humanitarian response, pledging $150 million in aid and deploying U.S. Navy warships to assist in life-saving rescue operations.  

“Maj. Gen. Jarrard is serving as the senior U.S. Southern Command (SOUTHCOM) official on the ground and is working closely with partners to plan, coordinate, and direct the U.S. military’s unparalleled logistical and operational capabilities to support the rapid, life-saving movement of response personnel, equipment, and humanitarian assistance into affected areas,” SOUTHCOM said in a statement, noting that Venezuela’s interim government — led by acting President Delcy Rodríguez — formally requested American assistance. 

“Assigned U.S. military forces will utilize fixed and rotor wing aircraft to provide specialized mobility services and assist U.S. Government personnel, search and rescue teams, and partners assessing damage and delivering critical life-saving assistance,” SOUTHCOM added.

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PLAYERS, FANS FLEE STADIUM AS POWERFUL EARTHQUAKES STRIKE DURING VENEZUELA BASEBALL GAME

Responders search for victims in a demolished building in Caracas, Venezuela, after a magnitude 7.2 earthquake and a 7.5 aftershock struck the region on June 24, 2026. (Jesus Vargas/Getty Images)

The coastal region of La Guaira, which is located north of Caracas, suffered some of the heaviest damage and casualties. The country’s main airport is there and was closed due to damage, complicating aid efforts. 

Retired schoolteacher Juan Alberto Mendaño climbed through wreckage in La Guaira and past a body when he spotted a woman who was trapped and signaling with her hand for help, according to the AP. 

“May God rescue her as quickly as possible,” Mendaño reportedly said. “When we heard the scream, there was nothing we could do.” 

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Venezuelan authorities said they were diverting rescue teams from other parts of the country to La Guaira. 

Rodríguez also appealed to businesses Thursday to make heavy construction equipment available for rescue operations.

Patients lie outside a hospital evacuated after it was damaged in an earthquake in Catia La Mar, Venezuela, on June 25, 2026. (Pedro Mattey/AP)

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“We hope to rescue as many living people as possible,” Rodríguez added, referring to La Guaira as a “disaster zone.” 

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Fox News Digital’s Alexandra Koch and The Associated Press contributed to this report. 

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Copernicus lead warns extreme heat measures needed or deaths to ensue

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Copernicus lead warns extreme heat measures needed or deaths to ensue

The assessment by the Director of the Copernicus Climate Change Service, Carlo Buontempo, on the current heatwave hitting Europe is clear.

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“There’s a clear need to develop strategies to cope with these extremes (as) they have the potential to kill us,” Buontempo warned.

He made the comments on Euronews’ flagship morning programme Europe Today on Friday — a day where extreme weather warnings have been issued for France, Belgium, Germany and Britain, following half-a-week of soaring temperatures sizzling capitals and citizens.

These increased temperatures are “a natural consequence of the fact that the world is warming up”, Buontempo said. These temperatures have affected the “frequency, intensity, duration, and onset” of heatwaves.

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The climate expert hailing from the Bonn-based research centre called on both cities and citizens to act, arguing that the design of the former must improve and that it is key to develop “habits and actions” on a personal level to keep us cool and safe.

Buontempo said these solutions could “reduce heat-related mortality, which has gone up in Europe by 30% in the last 20 years.”

What has also gone up massively, he said, is the number of cities that have a climate adaptation plans. This includes larger greener areas, more insulated houses, and changing opening hours of businesses and offices.

“For many cities we are not there yet, but for many others at least we have now a plan and it is not abstract. It is affecting us today in our backyard,” Buontempo added.

Asked whether the EU should take action and establish a single policy approach to address global warming, he said that there is not a one-size fits all solution. But there is an opportunity to learn from partners.

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“We should do more in that respect,” he said, adding: “What people do in Athens could be applied to Copenhagen.”

On where the limit lies in terms of rising temperatures, Buontempo maintained that they “will continue to go up even if we were to stop emissions tomorrow, which we are not.”

Despite the gloom and gloom of climate change, he said knowledge is power.

“We can use this information, which is open and free for everyone. If we didn’t have it, we would be blind and facing a bigger risk,” Buontempo said.

Watch today’s episode of Europe Today in full.

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