The Game accuses Kendrick Lamar and Blacc Sam of ducking him
Rapper Recounts Past Support for Both Figures During Documentary III Release Party
The Game stood in a dimly lit room, surrounded by people holding up phones to record him. He had a microphone in his hand and a list of grievances in his head. Game said he put Kendrick Lamar on his first mixtape, took him on tour, and showed him the ropes. Now he can’t get a phone call returned.
The 49-second clip, shared on X by @SeewhyChels, has received over 750,000 views. The Game, speaking at the release party for The Documentary III, also addressed his inability to reach Blacc Sam, Nipsey Hussle’s brother and business partner. He said he caught fades with his own homies to take Nipsey on tour. Now Sam won’t pick up the phone.
Fades, Tours, and Unreturned Calls
The Game’s remarks center on two figures: Kendrick Lamar and Blacc Sam. For both, he claims a history of support that he feels should translate into access. For both, he says the access is no longer there.
“I put Kendrick on his first mixtape,” he said. “I took Kendrick on tour; I showed Kendrick nothing but love.” He added that there is “no static” between them. With that, he said he wants people to hear that directly from him so that “[…] ain’t between us.” He also noted that he can still reach Top Dawg on the phone. In addition, he referenced a “weird brotherhood” with Dr. Dre.
Then, he pivoted to Nipsey Hussle. He said he “caught fades with my own homies to take Nip on tour.” Game framed this as a significant sacrifice, given the gang affiliations involved—The Game associated with Bloods, Nipsey with Crips. He said he cannot seem to get in touch with Blacc Sam to “holler at him” and expressed confusion about why that is.
He drew a line: he will not keep calling. “I ain’t gonna call that nigga every day,” he said. “I ain’t no hoe.”
When Support Doesn’t Translate to Access
The Game and Nipsey Hussle had a history that predates Nipsey’s 2019 murder. They collaborated on tracks such as “They Roll,” freestyled on tracks together, and appeared together on the LAX tour in the 2008-2009 period. The Game has long claimed he advocated for Nipsey early, accepted a demo under tense circumstances, and fought with his own associates over bringing Crips on tour.
After Nipsey’s death, The Game mourned him extensively, referenced him in tattoos and branding, and claimed to have received Blacc Sam’s blessing for certain tributes. But tensions later emerged. In 2022, a track titled “World Tours” featuring Nipsey was removed from The Game’s album Drillmatic shortly before release at the direction of Blacc Sam’s representatives.
The Game’s then-manager Wack 100 publicly criticized Blacc Sam as “selfish” in Clubhouse conversations, arguing the removal disregarded The Game’s long support for Nipsey. Wack 100 has a documented history of highly public, often confrontational commentary, including statements about Nipsey and others that drew backlash. The Game’s silence or inaction on those matters is now cited by observers as a reason outreach to Blacc Sam would be unreasonable to expect.
From Compton Roots to Radio Silence
Kendrick Lamar and The Game share Compton roots. Early connections include Kendrick’s appearances on The Game’s mixtapes, the track “The City” from The R.E.D. Album (2011), and inclusion on the same LAX tour. The Game has long claimed to have featured Kendrick on his first mixtape and described putting him in opportunities.
Relations appeared positive for years, though intermittent public comments from The Game asserting his own status as Compton’s top lyricist or referencing past assistance have occasionally circulated. More recently, speculation intensified around The Game’s associations with Drake, particularly after Drake’s high-profile feud with Kendrick in 2024.
The Game appears on The Documentary III with Drake, and the album contains tracks that some listeners and commentators interpreted as mixed or ambiguous regarding Kendrick. A video shoot involving Drake in Compton and features perceived by some as containing indirect references have added to the perception that The Game has chosen sides. Observers now cite this as a reason Kendrick might not be returning calls.
An Album Rollout With Built-In Drama
The remarks occur at the release party for The Documentary III, the third installment in The Game’s signature series. The album features Drake, Kanye West, Lil Wayne, Snoop Dogg, YG, and others. The rollout has generated discussion about The Game’s place in the current West Coast landscape and his relationships with key figures.
The album contains tracks that some listeners interpreted as mixed or ambiguous regarding Kendrick. One track states no problem with “the boogeyman,” while another references a GNX in a way some connected to Kendrick’s recent work. These details, combined with the Drake features, have fueled speculation about where The Game stands in the ongoing West Coast dynamics.
The release party setting—dim lighting, pink and purple hues, people recording on phones—provided a backdrop for the remarks. The Game’s delivery was animated and direct, mixing assertion of past support with expressed confusion and a firm boundary against further outreach.
X Points the Finger Back at Game
The post on X got over 750,000 views, thousands of likes, and hundreds of replies and quotes within a short period. Reactions were predominantly critical or skeptical.
Many users interpreted the remarks as The Game counting favors publicly, lacking self-awareness about why contact has cooled, or failing to account for actions by his manager Wack 100 and his own associations with Drake. One widely circulated post enumerated specific points: allowing and featuring Drake in content seen as dissing Kendrick, the Compton video shoot with Drake, launching “Prolific” branding after Nipsey’s death, failing to intervene when Wack 100 made critical statements about Nipsey or Sam, and publicly engaging Kendrick’s name in ways interpreted as supportive of Drake. The poster concluded that the lack of returned calls was fully understandable.
Other frequent themes included characterizations of The Game as emotional, performing for attention, or “crashing out” as promotion. Reminders of Wack 100’s history appeared repeatedly. Some users asserted that neither Blacc Sam nor Kendrick owes ongoing access. Critical one-liners describing him as a “groupie,” “clown,” or lacking self-awareness appeared frequently. A minority of responses treated the statements more neutrally as clarification of no beef or as typical album-cycle commentary.
The Manager Who Made It Worse
A recurring theme in the reactions was Wack 100’s role. The Game’s former manager has a documented history of highly public, often confrontational commentary. His statements about Nipsey after his death drew backlash, and his criticism of Blacc Sam over the 2022 track removal is widely seen as a contributing factor to the current distance.
Observers argued that The Game’s silence or inaction on Wack 100’s statements makes outreach unreasonable to expect. If Blacc Sam was publicly criticized by The Game’s representative, the argument goes, why would he be eager to take The Game’s calls? The same logic is applied to Kendrick: support for Drake, the Compton video, and perceived playing of both sides are cited as reasons for non-response.
The Game did not address Wack 100’s role in the clip. He focused on his own history of support and his current inability to reach the two figures. But the reactions made clear that many observers do not separate The Game from his associations.
Counting Favors in Public
The Game’s remarks fit a pattern in which veteran artists publicly inventory past favors when current access or recognition appears diminished. This can serve promotional purposes during an album cycle, clarify public narratives about “beef,” or pressure indirect responses. It can also backfire, as the reactions to this clip demonstrate.
Within the Drake-Kendrick aftermath, The Game’s simultaneous affirmation of loyalty to Drake and insistence of no static with Kendrick positions him as attempting to navigate dual allegiances. This can invite accusations of inconsistency from observers on either side while underscoring how personal relationships in hip-hop are frequently filtered through public performance and alliance signaling.
The clip has generated significant visibility within hip-hop discussion circles. The reactions suggest that many observers view The Game’s complaints as a failure to recognize his own role in the distances he describes. The conversation is unlikely to fade quickly.
