Why did a judge dismiss Drake’s defamation lawsuit against Universal Music Group (UMG) over Kendrick Lamar’s “Not Like Us”? Because, legal experts say, it never made much sense.

Drake’s case claimed he was defamed by the diss track, arguing that millions of people believed Kendrick when the Compton MC called his rival a “certified pedophile.” But in the wake of a judge’s ruling dismissing the case at the earliest stage, legal experts tell Billboard that Drake’s case was doomed from the start.

“Holding a rapper or their producer liable for lyrics in a diss track seemed contrary to basic defamation law from the beginning,” says Roy Gutterman, the director of the Newhouse School’s Tully Center for Free Speech at Syracuse University.

When Drake first filed his case, it prompted ridicule in world of hip-hop. The idea of hiring lawyers and going to court over a diss track felt antithetical to rap music, a genre rooted so heavily in authenticity, credibility and, at times, heated rivalries: “What part of the game is that?” asked A$AP Rocky in an interview last month. “What type of shit is that?”

But more quietly, legal experts had long been arguing that such a lawsuit was also antithetical to the world of defamation law and constitutionally-protected free speech — where courts are willing to restrict outright lies, but give wide leeway to opinions and artistic expression.

Way back in May 2024, as Kendrick and Drake exchanged ugly accusations in a series of scathing songs, legal commentators began to wonder if either rapper might have the audacity to take the fight to court: “Has anyone ever filed a defamation lawsuit over a diss track before?” joked Matt Ford, a legal reporter at the New Republic.

Months before such a case was actually filed, it felt downright unthinkable. No rapper would ever risk their reputation to file a libel case over an insulting lyric, right? But Billboard decided to poll the experts anyway, asking how such a hypothetical case a might go. The answer was pretty clear-cut: It would be very hard to win a defamation case over a rap battle.

“The public … has to believe that the speaker is being serious, and not just hurling insults in a diss fight,” Dori Hanswirth, a veteran media law litigator at the firm Arnold & Porter, told Billboard at the time. “The context of this song-by-song grudge match tends to support the idea that this is rhetorical, and a creative way to beef with a rival.”

That legal landscape didn’t scare off Drake’s attorneys, who went ahead and filed such a case in January, accusing UMG (but not Kendrick himself) of defamation over “Not Like Us.” In later filings, they said many fans had, on the contrary, taken Lamar’s lyric quite literally: “Millions of people, all over the world, did understand the [song] as a factual assertion that plaintiff is a pedophile.”

As Drake battled in court, more lawyers voiced skepticism. In a brief filed May, a group of legal scholars said the case was legally “faulty” and urged the judge to “consider rap music’s history and artistic conventions.” Diss tracks are not seen as “a series of news reports,” they said, but as “hyperbole, bluster, and demonstrations of disrespect” that are “designed to entertain and impress their audience.”

When Judge Jeannette Vargas finally ruled on the case on Thursday (Oct. 9), she followed precisely that line of logic that experts had been arguing from the start. The judge said that context was crucial — and that diss tracks were an artistic medium in which fans would expect “hyperbolic vituperations” rather than “sober facts.”

“The recording was published as part of a heated public feud, in which both participants exchanged progressively caustic, inflammatory insults and accusations,” Judge Vargas wrote. “This is precisely the type of context in which an audience may anticipate the use of epithets, fiery rhetoric or hyperbole rather than factual assertions.”

In reaching that conclusion, the judge was hardly breaking new legal ground. Instead, she was just sticking to the legal consensus — one that the experts say they were predicting from the start.

“The court recognized the nature of the artistic expression and the rap genre itself,” Gutterman, the Syracuse professor, tells Billboard. “The First Amendment provides lots of protection for statements of opinion as well as artistic expression. This decision reflects that.”

For the history of Drake and Kendrick Lamar’s feud, read through Billboard’s timeline below.

The GMA Dove Awards celebrated many of the biggest songs and artists of the year when the annual awards ceremony aired on Friday night (Oct. 10) on TBN. This year’s awards show took place at Nashville’s Bridgestone Arena (the awards show had previously been held at Lipscomb University’s Allen Arena for several years).

With the theme “Creation Sings,” it was appropriate that the evening both started and concluded with two elements: the evening began with For King & Country, Taylor Hill, Africa Nashvlle, and Stage Ready performing a new song, “World on Fire,” as flames danced across the stage.

The show was filled with uplifting singing, all aimed a sharing a faith-filled message. Being in Music City, a various sounds were represented during the evening, including rap/hip-hop, Southern Gospel, Spanish-language, pop, and country.

New artist of the year winner Leanna Crawford performed her hit “Still Waters (Psalm 23),” while host Tauren Wells and Gio also offered up a sterling, energetic rendition of “Let the Church Sing,” complete with staging that included pews and a church podium, as he sang joined by a choir.

Josiah Queen performed “Dusty Bibles” and “The Prodigal” while Elevation Worship and Elevation Rhythm performed “Goodbye Yesterday” and “I Have Decided.” Other performers included Fred Hammond with The Choir Room.

Israel & New Breed teamed with Unified Sound, Adrienne Bailon-Houghton, Alex Campos, Christine D’Clario, Josh and Waleska Morales, Ingrid Rosario, Janina Rosado, Lucia Parker, Nate Diaz and Aaron Moses for a charismatic, uplifting performance of “Coritos de Fuego,” while flying several flags including flags representing Puerto Rico and the Dominican Republic.

Forrest Frank was awarded the biggest honor of the evening, artist of the year, as well as accolades for pop/contemporary recorded song of the year (“YOUR WAY’S BETTER”) and pop/contemporary album of the year (CHILD OF GOD). Frank had previously released a video on social media stating he was not attending the awards ceremony, and was not present at the ceremony.

The Brandon Lake/Jelly Roll collaboration “Hard Fought Hallelujah” took home honors for song of the year, bluegrass/country/roots recorded song of the year and short form music video. Lake took home five total awards — he also won songwriter of the year-artist, and worship recorded song of the year, for “I Know a Name” with Elevation Worship and Chris Brown.

“I’m not sure how much I belong speaking up here right now…I ain’t been this nervous since I went to criminal court, y’all,” Jelly Roll said as he took the stage alongside Lake as song of the year winners for “Hard Fought Hallelujah.” “This is a real thing for me….I was thinking about Matthew, when he talks about ‘the least,’ when he said, ‘When I was hungry, you fed me, when I was thirsty you gave me water, when I was in jail you came and visited me and I realized I am standing here because people took the time with the least. I want to give this message as clear as I can…the world is hearing about Jesus like they haven’t in decades right now. There is a revival happening in the United States of America, where you can’t go on a corner and not hear about Jesus right now,” he said, encouraging those listening, “They’ve heard of Jesus, now go show them Jesus.”

Hulvey accepted the rap/hip-hop album of the year accolade for his project Cry, saying, “Glory to the father. And GMA, thank y’all for doing things spirit-filled, for showing the world that we can love Him through our music.”

Carrie Underwood joined Ben Fuller on a rendition of their collaboration “If It Was Up to Me.” To commemorate the Opry 100 celebration happening this year as the Grand Ole Opry celebrates its centennial anniversary, Opry members Steven Curtis Chapman, Vince Gill and Lady A highlighted the longstanding ties between country music and faith-filled messages, performing a version of Hank Williams Sr.’s “I Saw the Light,” as well as Lady A’s “I Run to You,” Gill’s “Go Rest High on That Mountain” and the country classic “Will The Circle Be Unbroken.”

CeCe Winans won two honors during the evening, including Christmas recorded song of the year, for “Joy to The World.” In winning Gospel worship recorded song of the year for “Come Jesus Come” with Shirley Caesar, Winans thanked Caesar, telling the crowd, “I love her, I grew up listening to her, so to be able to sing with her was just amazing..I’m honored to do what we all get a chance to do,” adding, “God is faithful…we have an awesome responsibility and that is to bring as many people as we can…Let’s remember why we do what we do, so God would be glorified, and so that as many souls as possible would come to know who Jesus is.” Winans also sang “Come Jesus Come” during the evening, turning in one of the most inspired, powerful performances.

The evening closed with another surprise, as Jon Batiste joined Jelly Roll and Brandon Lake to perform “Hard Fought Hallelujah.” They performed on the main stage at Bridgestone, as rain poured down over the performers onstage.

See the list of winners in select categories below:

Artist of the year

Brandon Lake
CeCe Winans
WINNER: Forrest Frank
Josiah Queen
Lauren Daigle
Phil Wickham

Song of the year

“Counting My Blessings” (Writers) Seph Schlueter, Jordan Sapp, Jonathan Gamble
“Good Day” (Writer) Forrest Frank
“Goodbye Yesterday” (Writers) Gracie Binion, Steven Furtick, Mitch Wong, Josh Holiday
WINNER: “Hard Fought Hallelujah” (Writers) Brandon Lake, Jelly Roll, Steven Furtick, Chris Brown, Benjamin William Hastings
“Still Waters (Psalm 23)” (Writers) Leanna Crawford, Jonathan Gamble, Justin Mark Richards
“That’s My King” (Writers) Kellie Gamble, Jess Russ, Lloyd Nicks, Taylor Agan
“That’s Who I Praise” (Writers) Brandon Lake, Steven Furtick, Benjamin William Hastings, Zac Lawson, Micah Nichols
“The Prodigal” (Writers) Josiah Queen, Jared Marc
“The Truth” (Writers) Megan Woods, Matthew West, Jeff Pardo
“Up!” (Writers) Forrest Frank, Connor Price

New artist of the year

Abbie Gamboa
Caleb Gordon
WINNER: Leanna Crawford
Patrick Mayberry
Strings and Heart

Worship recorded song of the year

“At The Altar” – ELEVATION RHYTHM, Tiffany Hudson, Abbie Gamboa
WINNER: “I Know A Name” – Elevation Worship, Chris Brown, Brandon Lake
“Mighty Name Of Jesus (Live)” – Hope Darst, The Belonging Co.
“The King Is In The Room” – Phil Wickham
“What A God (Live)” – SEU Worship, ONE HOUSE, Kenzie Walker, Chelsea Plank, Roosevelt Stewart

Pop/contemporary recorded song of the year

“Desperate” – Jamie MacDonald
“GOODBYE YESTERDAY” – ELEVATION RHYTHM, Grace Binion
“Still Waters (Psalm 23)” – Leanna Crawford
“That’s Who I Praise” – Brandon Lake
WINNER: “YOUR WAY’S BETTER” – Forrest Frank

Gospel worship recorded song of the year

WINNER: “Come Jesus Come” – CeCe Winans, Shirley Caesar
“God Is In Control” – DOE
“One Hallelujah” – Tasha Cobbs Leonard, Erica Campbell, Israel Houghton (ft. Jonathan McReynolds, Jekalyn Carr)
“Rest On Us (Flow) [Live]” – Naomi Raine
“Yahweh” – Jason Nelson (ft. Melvin Crispell III)

Spanish language recorded song of the year

“Al Estar Aquí” – Marcos Witt, TAYA
“ALGORITMO” – Gabriel EMC, Alex Zurdo
WINNER: “Coritos de Fuego” – Israel & New Breed, Unified Sound (ft. Adrienne Bailon-Houghton, Nate Diaz, Aaron Moses, Lucia Parker)
“Sigue Caminando” – Sarai Rivera
“Worthy” – Blanca (ft. Yandel)

Rap/hip-hop album of the year

Anike – Anike
Christlike, California – Mile Minnick
WINNER: CRY – Hulvey
SORRY, I CHANGED (AGAIN) – Aaron Cole
The People We Became – nobigdyl.

Southern gospel recorded song of the year

“If Not For Christ” – The Whisnants
“Love ‘Em Where They Are” – Gaither Vocal Band
“Man On The Middle Cross” – Scotty Inman (ft. Jason Crabb, Charlotte Ritchie)
WINNER: “That’s What Faith Looks Like” – Karen Peck & New River
“You’ll Find Him There (Live)” – Ernie Haase & Signature Sound

Bluegrass/country/roots recorded song of the year

“(More Than A) Hollow Hallelujah” – The Isaacs
WINNER: “Hard Fought Hallelujah” – Brandon Lake, Jelly Roll
“If It Was Up To Me” – Ben Fuller, Carrie Underwood
“There’s a Hole in the Heart” – The Nelons
“There’s a River” – High Road (ft. Jaelee Roberts)

Feature film of the year

For the One
Reagan
The Best Christmas Pageant Ever
The Forge
WINNER: The King of Kings

Television series of the year

God. Family. Football.
House of David
Jesus: Refugee, Renegade, Redeemer with Bear Grylls
WINNER: The Chosen
When Hope Calls

Neil Young is pulling his music from Amazon, the legendary singer-songwriter revealed in a blog post published on his personal website on Wednesday (Oct. 8).

In an apparent protest against the Trump administration, Young wrote, “The time is here. FORGET AMAZON,” under a header that includes the words, “BEZOS SUPPORTS THIS GOVERNMENT,” a reference to Amazon founder Jeff Bezos.

“Soon my music will not be there,” Young continued of Amazon. “It is easy to buy local. Support your community. Go to the local store. Don’t go back to the big corporations who have sold out America.”

The revelation came in a post that included a larger call by Young for people to discontinue shopping at Amazon and the upscale grocery chain Whole Foods, which the online retail giant acquired in 2017. He also seemed to call for a boycott of Facebook, writing “FORGET FACEBOOK” under a logo of the social media platform’s parent company, Meta. In August, Young left Facebook after a Reuters report claimed Meta had allowed AI chatbots to communicate with minors using “romantic or sensual” language.

“We all have to give up something to save America from the Corporate Control Age it is entering,” Young continued. “They need you to buy from them. Don’t.”

The singer also referenced the current shutdown of the U.S. government, writing, “They shut down our government your income your safety your family’s health security. Take America Back together, stop buying from the big corporations support local business. Do the right thing. Show who you are.”

Young has been openly critical of President Trump over the years. Last month, he released the song “Big Crime” with his band Chrome Hearts that railed against recent actions by the president — who is never mentioned by name — with lyrics like, “No more money to the fascists/ The billionaire fascists/ Time to blackout the system/ No more great again.”

Young’s music remained available on Amazon Music at the time of publishing. Representatives for Amazon Music and Young’s label, Warner Music/Reprise, did not immediately return requests for comment.

This isn’t the first time Young has boycotted a digital music provider. In January 2022, the star pulled his catalog from Spotify over its lucrative deal with Joe Rogan, through which it retained exclusive rights to, but not ownership of, the host’s wildly popular Joe Rogan Experience podcast. In a post on his website at the time, Young accused Rogan of spreading “misinformation” about the COVID vaccine on the podcast. “They can have Rogan or Young. Not both,” he wrote.

Young’s stance inspired several other artists to remove their catalogs from the service, including Joni Mitchell and Young’s Crosby, Stills, Nash & Young bandmates David Crosby, Graham Nash and Stephen Stills. Young restored his music to the streaming giant in March 2024 following the expiration of its exclusive deal with Rogan. The previous September, Billboard estimated that Young’s decision to remove his catalog from Spotify cost him roughly $300,000 in lost recorded music and publishing royalties up to that point.

More recently, artists including Massive Attack, King Gizzard & the Lizard Wizard, Deerhoof and Sylvan Esso have pulled their catalogs from Spotify over founder Daniel Ek‘s reported $1 billion investment into defense company Helsing, which sells AI software to inform military decisions.