A Deeper Look Into The Style And Symbolism of Kendrick Lamar’s ‘Not Like Us’ Music Video
*ALL VISUALS COURTESY OF THE “NOT LIKE US” MUSIC VIDEO DIRECTED BY KENDRICK LAMAR & DAVE FREE.
Hip hop is now studied in college classrooms. What Tupac and many other artists who helped proliferate the genre prophesied has become educational canon. Thanks to the work of a small but growing community of creators and educators with genuine love and respect for hip hop and black culture, higher education has shown that it can be a powerful vehicle that can showcase hip hop’s legacy by promoting cultural participation in place of appropriation. Speaking personally, one of the most phenomenal educators in hip hop, and literature as a whole, would be professor and author, Kiese Laymon. When I met Laymon for the first time on Vassar College’s campus in Fall 2011, sharing a love for hip hop, overenthusiastically on my part, one of the first things he made a point to do was introduce me to Kendrick Lamar, a man who he thought was “the most incredible rapper alive right now.”
From Overly Dedicated, the mixtape that put Lamar on Dr. Dre’s radar, to Mr. Morale & the Big Steppers, Kendrick’s progression as an artist shines through his commitment to the bigger picture through a hyper focus on minutiae. Any form of media that includes discussion on music culture will showcase numerous articles on Kendrick’s commitment to the smallest details that add new layers to appreciate. Most recently, Kendrick’s public tete-a-tete with Drake has culminated into the visual for his triumphant single “Not Like Us” that showcases this trademark depth in some profound, powerful, and BEAUTIFULLY petty ways.
Kendrick’s antipathy towards Drake has been well documented in the musical canon. From trading barbs on singles and features, to both artists each artist delivering their own EPs worth of music, these former collaborators show their enthusiasm to leave the other in the dust artistically and culturally. The visual seems to be a definitive victory lap (RIP Nipsey) for Kendrick’s performance in this contest. And in classic Kendrick fashion, he starts it with something new. This new untitled snippet that starts the visual brings the viewer to a gritty black and white backdrop, and sounds very much like a sequel to the definitive anthem, showcasing Kendrick viciously rapping about “looking for the Barclays” in Brooklyn, and how the “blueprint is by (him)”. On first glance, this might show him celebrating a new life living in New York City, but a deeper listen may show this as a shot towards Brooklyn icon Jay Z (pure speculation only). In classic Kendrick fashion, the video pivots to LA dance pioneer and considered a founder of Clowning, Tommy the Clown allows us into a password protected venue, and begins to play the track in an all white classroom.
Though the video itself could be dissected scene by scene, there are certain key elements that warrant more discussion.
FASHION.
The costuming across the board was wonderfully tailored to the color palette of every scene. The first major scene showcased Kendrick standing out from his troupe of accompanying dancers in black and white ensembles accentuated by red, white, and blue spray and body paints, while Kendrick stayed in a purely all white fit, outside of the red and blue in the white low top Converse shoes, and the blue pgLang hat draped in an Martine Rose scarf. Interestingly, this video was released on July 4th. Outside of the significance of red, white and blue to the USA, with additional focus on red and blue for the West Coast, July 4th also happens to coincide with Michael Rubin’s All White Party, where longtime rival Drake was attending. The video dropped on YouTube several hours into the party. Many on social media speculate that this outfit, and a later wave in the video from this scene, is meant to address Drake subliminally. Though this may be pure speculation, the timing can’t be ignored.
Most notably, however, was Kendrick’s particular affinity for highlighting pieces by Martine Rose in nearly every scene. With outfits that showcase staple pieces, such as the black and blue shrunken trucker jacket, and the “hanging around” t-shirt to name a few, the love Kendrick shows for Martine Rose’s craft is effortless. As someone who has been behind the scenes doing phenomenal work, including collaborating with Demna Gvasalia of Balenciaga from 2016 to 2018, to see the Anglo-Jamaican designer receive such spotlight in the styling (styling for the video was led by Taylor McNeill) with standout pieces brings new life to the often recycled aesthetic seen on hip hop’s leading players.
VIDEOGRAPHY.
The word “cinematic” is the easiest word for people to throw around when it comes to Kendrick’s visuals. It’s very clear in every scene and line that Kendrick is aware of how his art is consumed and perceived. The color palette stays largely within red, white, and blue, with black in the costuming and scenery. From the large crowd scenes showcasing civilians, bloods, crips and more partying to the West Coast’s newest anthem, to Kendrick doing push ups on a concrete block in an all white backdrop reminiscent of a prison cell, this focus allows for contrast that highlights outlying elements even stronger.
Among the more blatant uses of symbolism would be how the video uses Owl imagery, particularly Kendrick’s assault on an owl-shaped pinata, while providing a disclaimer that “no OVHoes were harmed in the making of this video” for comic effect. To close out the video, Kendrick showcases a barn owl locked in a cage, to exert a specific dominance over his rival, and definitively state that he’s “clipped his wings” so to speak.
GUEST APPEARANCES.
Outside of the song effectively ending this chapter of the Drake and Kendrick rap beef, Kendrick seemed ready to bring out the heavy hitters. Most notably, there seemed to be an emphasis on showcasing shared connections between Drake and Kendrick. Acclaimed producer Mustard, who produced the instrumental for the track with Sounwave, who had also previously worked with Drake on YG’s (who also appears in the video) hit single “Who Do You Love”, made a sizable appearance in the video, dancing in sync with Kendrick, and cruising in a gorgeous black Ferrari SF90 Stradale.
What may have been among the more pointed cameos was the appearance of basketball player, DeMar DeRozan, who used to play for the Toronto Raptors from 2009 to 2018. DeRozan even received a coveted Drake shoutout in a line on “Lemon Pepper Freestyle.” As of 2024, DeRozan is now back in California, playing for the Sacramento Kings, as Kendrick celebrates on the track (“I’m glad DeRoz came home, y’all don’t deserve him either”).
DeRozan’s appearance holds special significance, not only because he’s originally from Compton, but also because of his reported closeness to Drake during his time in Toronto. In a 2021 interview with Shannon Sharpe on his now famous interview series “Club Shay Shay”, DeRozan was quoted saying ““No matter what, when it comes to Drake, he’ll forever have a friend in me and loyalty out of me. He cared and was there for me when everything was going crazy.” Seeing DeRozan’s perceived pivot to enthusiastically dance with Kendrick over a song that unflinchingly attacks the character of his reported friend, Drake, definitely got the internet talking. In his most recent interview with Fox40’s Sean Cunningham Derozan says that he still “love(s) Drake” and that they should still play his music in the Sacramento center. When it comes to Kendrick however, he says “Kendrick’s been a friend of mine, family. Damn near family, for a long time, for a while. We’re from the same city, we’re up down there in the same neighborhood. It’s always been there. It hasn’t always been publicized, but that’s basically family.” Despite choosing not to publicly align with either, one might argue that this video appearance, as well DeRozan joining Kendrick on stage during his Juneteenth Pop Out event with Amazon, shows that actions speak louder than words.
CLOSING THOUGHTS.
This video has cemented itself within music culture as the culmination of one of the most powerful revitalizing forces hip hop has seen in the past decade. Two titans of the genre pushed one another in both skillful and underhanded ways to showcase artistic supremacy over the other. Time showed a clear victor in this battle, and Kendrick uses this video to showcase his pride as the undisputed people’s champ. More than the crowds of people screaming his lyrics like they’re theirs, more than the cameos of shared collaborators and friends, what may have been the most direct attack towards Drake was Kendrick’s show of love and community. From showcasing him hanging with his former TDE teammates, Ab-Soul, Schoolboy Q, and Jay Rock, and TDE executives Anthony "Top Dawg" Tiffith, Terrence "Punch" Henderson, and Anthony "Moosa" Tiffith Jr. Considering Kendrick’s pgLang venture, and rumors of dissension within TDE, this shows as a stark reminder that their bonds and camaraderie are truly familial. Kendrick’s appreciation for family is further highlighted in an adorable moment with his fiancee Whitney Alford, alternating from a portrait with their two tiny children a la’ “American Gothic” , then dancing and laughing together vivaciously.
For the last shot, a drone swoops over the crowd screaming the lyrics along passionately, hammering home not just how much Kendrick loves what his community gives him, but how much love he’s excited to give back to his community. The key theme shown in the video is that the love Kendrick chooses to receive, invite, and reciprocate comes from an authentic place, one which he believes Drake will imitate on a surface level, but never truly replicate for himself. As with any rap beef, much is left to the speculation of the consumer, but what can’t be denied is that their battle and Kendrick’s victory over Drake in this duel breathed new life into the genre and culture. Though no one can say where things will go next for other artists, it seems like Kendrick at least is excited to definitively leave this battle in the past, assert his victory, and move on to creating more art while living life. Whatever happens, the hip hop and music landscapes are forever changed, less predictable, and more exciting than they’ve been in a long time, and how things take shape from here will hopefully set new standards artistically for years to come.
