Mustard Calls Drake The Malcolm X Of White People In Scathing Twitter Rant

Mustard doesn’t like Drake. That much we all knew. The producer blessed Kendrick Lamar with the beat for “Not Like Us,” the most iconic diss song since Nas‘ “Ether.” Mustard was featured prominently at the “Pop Out” show on Juneteenth, and the “Not Like Us” music video. That being said, the producer went off on Drake in a way fans had never seen before. He targeted the Toronto rapper and DJ Akademiks in an August 2nd Twitter rant that few saw coming. He also dropped some unique insults in the process.

The producer had a bone to pick with DJ Akademiks hyping up Drake’s recent hits. The 6 God teamed up with producer Gordo for the songs “Sideways” and “Healing.” Gordo’s album, DIAMANTE, dropped the same day as Mustard’s FAITH OF A MUSTARD SEED, and the latter felt the decision was made on purpose to take away from his moment. Frustrated, Mustard proceeded to call Drizzy “Malcolm X” for white people. “Drake is the Malcolm X of white people,” he tweeted. “Akademiks, make sure you post Gordo’s first week since … [they dropped] the same day as me.”

Mustard then accused Drake of using bots to boost the streaming numbers of his Gordo songs. He even tied it back in to his insult about Malcolm X. “These Drake bots are the Nation of drizzlam,” the producer wrote. He also tagged Akademiks and Gordo to make sure they saw what he had to say. The tweets kept coming. “The bots tryna fade me,” Mustard tweeted. He then dug it in his heels and called Ak and the 6 God racists. “Album sales are a form of white supremacy,” he wrote. “You n**gas racist.” The sales that Mustard is referring to does, admittedly, favor Gordo. Gordo’s album sold 20K during its first week, and Mustard’s only pulled in 18K. Not a huge discrepancy, but enough for the L.A. producer to get heated.

Mustard’s frustrations may have something to do with the personal nature of his album. He was clear about the fact that FAITH OF A MUSTARD SEED was his most revealing release yet. He even decided to rap on the outro, as a means of putting more of himself in the music than ever. I started feeling like the records were becoming more soulful-leaning,” he told XXL. “It just kind of reminded me of like, me being a kid and different parts of Los Angeles.” We’re going to assume he didn’t like DIAMANTE based on his comments.