Did Meek Mill Diss Drake in ‘Wins & Losses’ Hidden Verse?

On Meek Mill’s newly released album Wins & Losses, it seemed the rapper took the high road by avoiding any obvious disses directed at Drake. However, there’s a hidden verse that suggests any beef between the rappers is far from squashed.

As pointed out by DJ Akademiks, the clean version of Meek’s “1942 Flows” is about 30 seconds longer than the dirty version, and includes extra lines that sound a lot like Drake disses.

Heard they say I talk about my Rollies too much/But them flows you be using sounding stolen too much/500 on my neck, they say I’m glowing too much/Had to block that little bitch because she be blowing me up/You be doing too much, you only looking for attention/Swagger jacking, jacking niggas swag, that’s extentious/Came in the culture like a vulture, now you’re winning/But this is the beginning, double M the emblem. For real.

In the first couple of lines, Meek seems to reference lyrics in Drake’s More Life cut “Lose You,” in which Drizzy raps: “All you did was write the book on garbage-ass Rollies.” The line was believed to be a shot at Meek.

Toward the end of the verse, the Philadelphia rapper calls out the unnamed target for being a “swagger jacker” as well as a culture vulture. He also uses the word “extentious,” which may be a play on XXXTentacion’s name. In case you forgot, many people accused Drake of copying X’s “Look At Me” flow and using it on “KMT.” X has also posted a series of tweets blasting Drake for “biting” his and other artists’ styles: “I’m not the first nigga he bit, nor will I be the last […] money don’t buy you respect.”

You can stream Meek’s Wins & Losses now on Apple Music or purchase it on iTunes. 

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The Best Rap Verses of 2017 (So Far)

2016 was supposed to have been the crazy year for music; 2017 was supposed to be a break. But here we are, halfway through the year, and it feels like rap music is exploding. Many of the best MCs under 40—Kendrick, Future, and Drake—have released full-lengths, and no matter what you hear from the shrinking, fearful cohort decrying the rise of “mumble rap,” hip-hop is as filled with great rapping as it's ever been. This list is the peak of the year so far, the 10 verses that commanded attention, prompted multiple rewinds mid-bar, and had us quoting lines for months on ends (honorable mention to Giggs' verse on “KMT,” which fulfilled the last qualification, if nothing else). One caveat: The list couldn't be made up entirely of Kendrick verses. Here are the best verses of 2017, so far. 


  • Black Thought, “Who Want It”

    Verse: 1
    Best line: “Otis used to sing how we should try a little tenderness/But they ultra envious, crazy disingenuous like/Who need a enemy if that's what type of friend you is?”

    “I got the wordplay of Wallace, work ethic of Shakur, I was sent into the future with a message from the Moors.” Black Thought doesn’t ease into verses as much as kick in the door with them, going from zero to one hunnid instantly—then keeps the intensity all the way up, bar after bar, with internal rhymes and references flowing by so fast—”I got plans, I’m taking my revenge like Roxanne/My man swam here from Mississippi, goddamn”—you’re rewinding to the start of the first verse before the second even starts. David Banner brings it too—it is his song, after all—but you might never get that far. —Russ Bengtson


  • Joey Badass, “Amerrikkan Idol”

    Verse: 1
    Best Line: “So turn the kid raps loud, I'm about to spazz out/Watch out, another n**** runnin' in the White House”

    The first verse on “AmeriKKKan Idol,” the last track on Joey Badass’s All-Amerikkkan Badass lasts nearly two minutes on its own, building to a crescendo around the minute-and-a-half mark—”Got a message for the world and I won't back out/So turn the kid raps loud, I'm about to spazz out/Watch out, another n**** runnin' in the White House”—before trailing off in frustration before the chorus kicks in. When the title of your album is a nod to one of Ice Cube’s best, you’d better bring it. With this anti-white supremacy lyrical assault—”Media's got this whole thing tainted, that's all fact/Feedin' you lies like this whole thing wasn't built on our backs”—he does exactly that. —Russ Bengtson


  • Future, “Might As Well”

    Verse: 1
    Best Line:“You will never know what I was in”

    We all know that Future's life has had its valleys and peaks. But on “Might As Well” he spends less time romanticizing his rough time in the streets or providing flamboyant accounts of gluttony—instead he hopscotches over the Tarantino production, paralleling his tough past with his prosperous present.

    Due in equal parts to his clear delivery, illustrative lyrics, and self-awareness he manages to poetically portray a rags to riches story, devoid of fantasy or Mafioso cliché. In its place are bars that are honest and relatable. —Brandon 'Jinx' Jenkins


  • Rick Ross, “Idols Become Rivals”

    Verse: 3
    Best Line: “Last request, can all producers please get paid?”

    Man, Rozay sounds so disappointed in how Birdman handles business and his words hit even harder over a beat flip of Jay Z and Beanie’s deadbeat-dad ethering, “Where Have You Been.” Birdman has been, for the most part, quiet since this track dropped. We hope he can find it in his heart to make amends with the people he hurt over the years. Still can’t get over how the Boss felt when he found out the watches were fake and the cars were rented, smfh. —Angel Diaz


  • Offset, “Met Gala”

    Verse: 1
    Best Line: “Get to the top and we blew the ladder up”

    It's always exciting when a recent real-life flex is flipped into a song. Offset and his Migos family storming the Met Gala just a few weeks ago was a major moment on the timeline, a nice example in a half-year full of them of just how far the Migos have come and how glorious it is to watch them shine. To hear Offset, on a track with Gucci Mane, wax poetic about it so soon after feels like breaking the fourth wall, like he read our tweets about posing with Celine Dion and said, “Yeah, I can't believe it either.” Except, with Offset, it just becomes a brilliant new shortcut for flexing. How good is life? It's Met-Gala-invitation good. —Frazier Tharpe


  • Remy Ma, “Shether”

    Verse: 1
    Best Line: “And to be the Queen of Rap, you gotta actually rap”

    Nicki Minaj hasn’t been able to get anything to stick since Remy Ma released “Shether.” It's not the greatest song but as a verse—well, it didn’t shake up the game for an entire weekend for nothing (and 48 hours on Twitter is the equivalent of like nine human years). —Angel Diaz


  • Kendrick Lamar, “DNA”

    Verse: 2
    Best Line: “You mothafuckas can't tell me nothin/I'd rather die than to listen to you/My DNA not for imitation/Your DNA an abomination”

    The second verse of “DNA” feels like a cathartic explosion of that side of Kendrick that we all want to see. The side that took the wheel on Big Sean's “Control,” who snapped during his BET Cypher Freestyle in 2013, and resurfaced most recently on the “The Heart Part IV.”

    On “DNA” he's boisterous and superhuman, successfully distancing himself from further from his would-be peers. You can’t be him. He’s the Neo in hip-hop’s matrix. He’s dodging bullets and pulling triggers at the same damn time.

    It's such an insane display, Mike Will had to build the beat around Kendrick's words—nothing else in his library could accommodate the barrage (and Mike is known for his massive library). This is rap as Olympic sport, but it doesn't sacrifice content for the sake of remarkable form. The verse is full of striking images (“Beach inside the window, peekin' out the window/Baby in the pool, godfather goals” and quotables (“You ain't sick enough to pull it on yourself”).

    All while Rick James cries out for marijuana. —Brandon Jenkins and Ross Scarano


  • Drake, “Do Not Disturb”

    Verse: 1
    Best Line: They don't know they got to be faster than me to get to me/No one's done it successfully

    “Stylin though.” A simple and catchy opening, the sort of line Drake excels at. The casual confidence in those two words is appealing; if you saw it on the rack you’d want to try it on—it’s plain, but you think you’d look great in it. Then back home, you find it doesn’t work as well as you wanted.

    Relatability is overrated beyonds its ability to lure the listener in. It doesn’t keep butts in seats. At this point, is anyone still listening to Drake because they think their life is like his, that their struggles are similar? It’s the ghost of a feeling you occasionally glimpse but at this point we’re here for the Drake show, for his logo splashed on the sound a la mode and the rare peek behind the curtain at what his true life. That’s what “Do Not Disturb” gives you. “Stylin though/Dissin but got pictures with me smilin though.” The line is a revolving door—you think you’re in only to be spun back out to the sidewalk to spectate. He’s very good at what he does, you should pay attention. Wait for the summary. —Ross Scarano


  • Young Thug, “Sacrifices”

    Verse: 3
    Best Line: “Growing up, I was a running back/You never made me ran once (goddamn)/I got shot, sweat started running/That shit was red like Hunt (ketchup)” 

    The Young Thug that emerges about halfway into “Sacrifices,” the demure posse cut on Drake’s More Life, is one we haven’t seen before. Thug’s rapping is typically elemental, it defies categorization; explaining what Thug rapping sounds like describing the weather. On “Sacrifices,” though, Thug sounds different. Sober, surgically precise storytelling. It’s such a different flow than what fans are used to hearing that it’s tough to capture how strikingly weird the language is before Thug explodes into a Technicolor croon—the Thug we’re used to, and still thrilled by. He reins it in, later, capitalizing this new, darting rapping with his inextricably melody-laced, throaty delivery. The end result is formless impressionism, a completely new delivery from a new breed of rapper that works about as well as it sounds. It’s a triumph but, because it’s Thug, it’s impossible to say if we’ll ever hear a verse quite like it ever again. —Brendan Klinkenberg


  • Kendrick Lamar, “Duckworth”

    Verse: 1
    Best Line: “Because if Anthony killed Ducky, Top Dawg could be servin' life/While I grew up without a father and die in a gunfight”

    Just when you think you've seen all of K-Dot's tricks, know all of the major tentpoles of his story, this motherfucker goes and ends an already impressive album by putting his entire life into a Sliding Doors, cosmic context via the intertwined biographies of the two most important men in his life. A grand destiny fulfilled that could've easily been another banal and wasted life tossed about by the caprices of cause and effect. A tale this cinematic and unbelievably true needs John Williams on the score—9th Wonder provided the web and Kenny spun it like he was Homer delivering a myth from the heavens. Best verse on the best album of the year. —Frazier Tharpe

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Joe Budden and DJ Akademiks Debate Young Thug’s Status in the Rap Game

On today's episode of Everyday Struggle, Joe Budden and DJ Akademiks break down whether Giggs' verse on Drake's “KMT” is trash and discuss grime music in general. Later, they go back and forth over Nicki Minaj's “No Frauds” and determine if it is truly a flop. They then debate Young Thug's star status and what he needs to do to break out in 2017. The show ends with some fan questions from Twitter and a few hilarious shout-outs. 

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7 Things You Probably Missed on Your First Listen of ‘More Life’

Today was the day. Drake finally rolled out his More Life playlist on the 39th episode of OVO Sound Radio, nearly five months after he announced it. The big unveiling, of course, caused the Twittersphere to freak out, with fans live tweeting their immediate reactions to all 22 tracks. Because there was so much to take in—from the samples to the bars to slew of guest appearances—there’s a chance fans might’ve missed some of the project’s key moments during the first listen. We don’t blame you: Attention to detail can prove to be difficult when you’re freaking out from excitement.

Before you revisit More Life (and we know you will), be sure to keep your eye out for these highlights.

  • Drake reaffirmed his obsession with U.K. grime by enlisting two of the genre’s biggest names: Giggs (“No Long Talk” and “KMT”) and Skepta (“Skepta interlude”).
  • He gave several shout outs to his once-rumored love interest Jennifer Lopez. In the playlist’s opening track, “Free Smoke,” Drizzy rapped set social media ablaze by rapping, “I drunk text J-Lo/Old number, so it bounce back.” He also sampled the singer’s 1999 hit “If You Had My Love” on “Teenage Fever.”
  • One of the most-talked about tracks on More Life was the Kanye West-assisted “Glow.” Obviously, any Yeezy feature is going to generate buzz, but it seemed many listeners were more moved by the sample at the end. For those unfamiliar with 1970s funk, the familiar tune is from Earth, Wind and Fire’s “Devotion.” 
  • More Life is basically a rap world all-star game, with some of hip-hop’s biggest names making major contributions. And while everyone will be talking about the Kanye West-assisted standout “Glow,” don’t sleep on the two Young Thug features on “Sacrifices” and “Ice Melts.” The collab was pretty much a forgone conclusion after the Atlanta rapper joined Drizzy on his European Boy Meets World Tour. OVO acolyte PartyNextDoor comes in at a close second for most underrated guest spot on the bouncy “Since Way Back.”
  • No one has a pulse on new music quite like Drake, and he proved it once again on More Life. And while previously obscure artists like Giggs and Jorja Smith take center stage on the playlist, pay close attention to Black Coffee, the South African house DJ whose contribution on “Get it Together” is a More Life highlight.
  • What would a Drake offering be without a voicemail from a close somebody in which real emotions are laid bare. On More Life, that clip comes courtesy of mama Aubrey Graham herself, who laments her son’s recent aggressive tone in response to his beef with Meek Mill. Oh, and her Michelle Obama quote—“When others go low, we go high,”—is a More Life mic drop moment.
  • More Life’s closing track, the infectious “Do Not Disturb”, is a classic Drake outro, in which he reminisces about his days as a an ambitious Toronto upstart, and promises new music when he raps “I’ll Be back in 2018 to give you the summary.”

 

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