The rap industry is often seen as a battleground where artists vie for supremacy, but according to Cat Williams, the real winners aren’t necessarily the rappers themselves but rather the big shots behind the scenes, specifically Universal Music CEO Lucian Grainge. Williams suggests that while fans are busy picking sides in feuds like the one between Kendrick Lamar and Drake, it’s figures like Grainge who are truly benefiting.

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Williams implies that Grainge’s relationship with Drake goes beyond the usual artist-label dynamic, likening it to a “rich baby daddy” scenario. He hints at a secretive contract between Drake and Universal Music Group, speculating that it could involve equity and ownership of other artists’ catalogs. There are even rumors that Drake may have been trying to acquire Kendrick’s rights anonymously, possibly fueling their beef.

However, Williams also suggests a darker side to the industry, insinuating that artists who speak out against major labels like Universal may face consequences. He mentions instances where rappers who clashed with their labels met unfortunate ends, drawing parallels to the deaths of icons like Michael Jackson and Prince.

The beef between Kendrick Lamar and Drake has been brewing for years, stemming from Kendrick’s verse on Big Sean’s “Control” back in 2013. While Kendrick claimed he wasn’t trying to start beef, Drake took it personally, leading to a series of sneak disses and jabs between the two.

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The feud escalated recently when Kendrick dissed Drake on Future and Metro Boomin’s track “Like That,” prompting responses from other rappers eager to join in on the action. Despite Drake’s initial claims of being unbothered, tensions continued to rise, especially after Kanye West got involved, throwing more shots at Drake and referencing Lucian Grainge.

In interviews, Kanye expressed regret for collaborating with Drake, suggesting he wouldn’t have done so if he knew Drake would “stab him in the back.” He also reiterated his characterization of Grainge as Drake’s “rich baby daddy,” implying a complex relationship between the artist and the label executive.

Overall, Williams paints a picture of an industry where the real power lies in the hands of executives like Grainge, with artists often caught in the crossfire of feuds and power struggles behind the scenes.