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Of course, the most striking element isn’t anything conceptual, it’s the presence of Rihanna, the featured artist, playing Kendrick’s love interest, and the clothes that adorn her figure as she and Kendrick gaze fondly and faithfully at each other.
They’re entirely convincing: Rihanna’s a gifted actress and it’s not like Kendrick, or any man, is going to have trouble behaving as if he’s fallen for her. Kendrick’s long been committed to his high-school sweetheart, and Rihanna’s too committed to her own freedom.
But the fact that they’re in such intimate proximity, that they’re sweet on each other, seems designed to send a message.
Her affection for Drake is real, but her tolerance for his self-serving antics is low; it’s conceivable that she wants to reduce him to a manageable level.
With figures on his side, it’s beyond dispute: He’s topped Drake, who last year seemed bigger than ever, and he did it without ever calling him out directly.
by dropping his throne-claiming “Control” freestyle a month before its release, and since then, it’s become something of a habit for Kendrick to seize rap fans’ attention exactly when Drake most wants it.
And it’s all but certain that when Kendrick stepped up to defend Jay’s honor on “The Heart, Part 4” — “Hoe, Jay-Z Hall of Fame, sit your punk-ass down” — he was defending it from Drake. So to sum up, Jay, through Meek, helps provide the opening for Kendrick to pass Drake.
If this still seems far-fetched, consider the fact that Jay basically spelled out this strategy years before the beef even started.
Without being exposed as a speaker of others’ words followed by the delay, then critical flop, of , Drake would still be a credible contender for the biggest rapper.