Verified archive entry

Good Riddance (Aristo Diss)

By Drake · Targeting Aristo

Good Riddance (Aristo Diss) is a diss track by Drake targeting Aristo. The recording also credits JD Era, Jonny Roxx, Young Tony, Ken Masters and Bishop Brigante. The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.

Released2009

Annotated16

ExplicitYes

Addressable transcript

Lyrics & breakdown

Demo lines only. Select a line number to copy a stable deep link.

01
[Verse 1: Bishop Brigante]
Multi-line diss block
02
It's fuckin' losers like you that make me do what I do
03
Make me hate where I'm from, you as fake as they come
04
Everybody got guns, who the fuck gonna squeeze
05
Everybody got songs, but you ain't fucking with these
Block noteTreats the target's persona as fabricated
TargetAristo
MeaningWhat it means: In “Make me hate where I'm from, you as fake as they come,” Drake says Aristo's public story or image is false rather than a reliable account of who the target is. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Once the persona is presented as invented, the boasts and accusations built on it become easier for listeners to dismiss.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
06
Why you wish to be ghetto, tell me what's it about
07
While you're tryna get in we're all tryna get out
08
Why don't you just be yourself, why don't you tell us the truth
09
Like how you only load guns when you up in the booth
10
You ain't nothin' to shoot, you don't even exist
Multi-line diss block
11
You're just a fantasy family as weak as it gets
12
And you ain't speakin' to Bish, cause I don't listen to chicks
13
I don't argue with broads, cause I'm really a pimp
Block noteMakes the feud personal through family
TargetAristo
MeaningWhat it means: In “You're just a fantasy family as weak as it gets,” Drake brings a relative or family boundary into the exchange with Aristo, moving the dispute beyond music and into private life. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Family references explain why the conflict feels personal: they raise the emotional cost for Aristo and make the line more consequential than a routine comparison of rap skill.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
14
But I will tell you this, as far as y'all are concerned
15
Pull out my Santa Claus, and make the holidays burn
16
You can call me the Grinch, cause y'all are nothing but Who's
17
Just another bunch of low life's with nothing to do
18
[Verse 2: Ken Masters]
19
Now let the kids play like the rider's ride
20
We spendin' all day, these niggas idolize
21
They claim they want fame nigga so we decided
22
That we gon' make 'em some stars until the drama dies
23
But they can go back to they holes where they mama lies
24
Or write more lies about they drugs, guns or homicide
25
Funny, claim the thug life that they abidin' by
26
But run up on 'em, then they turn into the silent type, they wanna compromise
27
My niggas, we ride or die
28
And roll with them bitches that got they body right
29
These niggas ain't built, ain't got the body type
30
Time to break a nigga's spirit like the Amistad, tryna fool the audience
31
Feel the ambience
Multi-line diss block
32
Stars in your presence, kings of the city are appalled by the peasants
33
Ain't gotta say names, we can all get a reference
34
Brains and the info from your broads in the west end
Block noteClaims geographic legitimacy
TargetAristo
MeaningWhat it means: In “Stars in your presence, kings of the city are appalled by the peasants,” Drake uses place and local affiliation to decide who can credibly represent the scene challenged in the song. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The feud is presented as larger than two individuals, so the line asks listeners to treat Aristo as an outsider or a poor representative of the claimed community.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
35
Masters, flowing staggers on bars
36
Nigga stay mad cause his swagger's on Mars
37
Y'all niggas ain't thinking we calling y'all 'tards
38
Claim you want war, okay, on guard
39
[Verse 3: Young Tony]
40
Ayo, hey you Mr. Rapper Guy
41
When you in the booth, tell me why you have to lie
42
Come on, spit the truth, all I hear is bang bang, hustle this, hustle that
43
But if you hustle crack, then where the money at?
44
No proof, Dr. Seuss, story tellin' when he rhyme, like
45
Once upon a time I was really on the grind
46
There's another lie, couldn't out-hustle me
47
Hatin' when it come to D, I can take you're starting 5
48
I'm only goin' at generic rap niggas that
49
Rap about ki's but couldn't show me 10 G's
50
And these nigga' dry snitching on they tees
51
Standing out, like a sore thumb to the D's
52
My nigga please, if you really had work
53
You would do what you do and wouldn't put it on your shirt
54
It makes my heart hurt when dumb niggas act hood
55
You ain't no hustla, just a nigga that can rap good
56
[Verse 4: Jonny Roxx]
Multi-line diss block
57
See there's a height requirement, nigga to mention my name (smarten up)
58
How the fuck you little niggas didn't stay in your lane
59
Man you offered me a truce and I took it
60
Now I hear this bullshit so how the fuck am I to overlook it?
Block noteMakes the rejection unmistakably direct
TargetAristo
MeaningWhat it means: In “How the fuck you little niggas didn't stay in your lane,” Drake drops any pretense of a subliminal and rejects Aristo in blunt, unqualified language. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The direct wording removes plausible deniability: listeners are not left guessing whether Aristo is part of the dispute or whether a response is being invited.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
61
If this little nigga survive then it gotta be God
62
How the fuck are you a hustla with your factory job ?
63
And I don't get it, nigga I'm a fucking diabetic
64
And I don't usually eat y'all sweet niggas
65
Every time I see y'all retard niggas y'all bitch out
Multi-line diss block
66
Waddup Roxx? now we cool? then you dip out
67
Talkin' all that bang bang shit, pull a clip out
68
Sayin' you a blood, next week you prolly crip out
Block noteMakes the confrontation explicit
TargetAristo
MeaningWhat it means: In “Every time I see y'all retard niggas y'all bitch out,” Drake addresses Aristo directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Naming or plainly addressing Aristo removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
69
I'm saying, we don't believe y'all niggas (nah)
70
G-35, x5 nah niggas (yeah)
71
This here is a public announcement for my niggas (yeah)
72
No more goodnight, good mornin', goodbye niggas
73
[Verse 5: JD Era]
74
I don't appreciate niggas sayin' my name in they bullshit
75
It's like putting a knife against the lyrical full-clip
76
Do shit on my own, I never asked for help
77
If I was rapping like y'all I woulda killed myself
78
And nah, this ain't beef, it's missing a few ingredients
79
Dog you ain't a general, stick to being obedient
80
Piggy back, that ain't something I had to do
81
Laughing at Drake? you should'a seen how I was laughing at you
82
I don't beef over little shit, angry? A little bit
Multi-line diss block
83
Little niggas get little recognition you little bitch
84
I don't do the little subliminals, I'm addressin' it
85
And if Littles wanna get in the middle then I'm suggesting it
Block noteMakes the confrontation explicit
TargetAristo
MeaningWhat it means: In “Little niggas get little recognition you little bitch,” Drake addresses Aristo directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Naming or plainly addressing Aristo removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
86
They called you a bitch, were tryna act out
Multi-line diss block
87
They challenge 'em to a fight and then they back out
88
So tell me how the fuck I can respect you cats
89
If you a gangsta, then what part of the game is that?
Block noteReduces the target to a dismissive caricature
TargetAristo
MeaningWhat it means: In “They called you a bitch, were tryna act out,” Drake replaces Aristo's preferred identity with a degrading label intended to make the opponent look ridiculous or contemptible. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The label gives the audience a short, repeatable frame for the feud; repetition of that frame can shape how Aristo is remembered.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
90
[Verse 6: Drake]
Multi-line diss block
91
Hey yo Aristo, I'm lost, can you tell me whats goin' on in the streets?
92
How it feel to count dough while you palmin' the heat?
93
And yes I asked for a 16, you did your 16
94
I heard that weak shit and only wanted the beat (it's true)
Block noteUses a pointed question as an accusation
TargetAristo
MeaningWhat it means: In “Hey yo Aristo, I'm lost, can you tell me whats goin' on in the streets?,” Drake puts Aristo's conduct on trial through a question that is meant as a challenge, not a neutral request for information. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The question shifts the burden onto Aristo: any answer must accept the premise raised in the lyric or explain why that premise is false.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
95
But fuck the money and the cars that I drive to set
96
And fuck the women that's lying to all the guys they met
97
And fuck the features on my songs and the deals on the table
98
Or basically it's fuck everything that you strive to get
99
And it's the room of resolution, I'm finishing it in here
Multi-line diss block
100
If I copy Budden's flow, you mimickin' his career
101
And the same money we hearin' you giving to charity
102
You need to be giving to Littles to give him some clarity (what up Littles)
Block noteSays the target's identity is borrowed
TargetAristo
MeaningWhat it means: In “If I copy Budden's flow, you mimickin' his career,” Drake presents Aristo's style or work as imitation rather than an original contribution. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The accusation strips Aristo of artistic ownership: success looks less impressive when the sound, image, or idea is framed as somebody else's first.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
103
'Cause that's your homeboy I think he's owed that much
Multi-line diss block
104
Tell him pressing 25 don't mean you sold that much
105
And Breana, I don't mean to alarm ya
106
But you need to get outside the car to shoot this video in Parma (Tony!)
Block noteImagines the battle as physical destruction
TargetAristo
MeaningWhat it means: In “But you need to get outside the car to shoot this video in Parma (Tony!),” Drake converts lyrical defeat into death, shooting, burial, or bodily harm directed at Aristo. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts Aristo as unable to return for another round.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
107
You act like you hood and hood niggas'll harm ya
108
And this is not hatin' my nigga we call it karma
109
But yo Thug Life, show me where the hammer be
110
Yes I took an L on my own and they didn't damage me
111
You try to cover up your lies like a canopy
Multi-line diss block
112
And tryna pull 17 year olds down in Bramalea (I know about it)
113
And we don't got it out for you
114
We just saying that don't nobody vouch for you
Block noteTreats the target's persona as fabricated
TargetAristo
MeaningWhat it means: In “You try to cover up your lies like a canopy,” Drake says Aristo's public story or image is false rather than a reliable account of who the target is. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Once the persona is presented as invented, the boasts and accusations built on it become easier for listeners to dismiss.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
115
Nope, nobody thorough is willing to give a cosign (nobody)
116
And you don't even sell blow, you just blow time
117
You can't even get a factor grant
118
So stop rapping, go fix parts at a tractor plant (damn)
119
And listen here, Tetley Tea
120
You one of the seven dwarfs standing next to me
121
You probably snitchin' in court, then accept the plea
122
And I hear you paying these women and I sex for free (what up sweetheart)
123
But dog, how did this start, how we get to this part?
Multi-line diss block
124
We all got niggas doing bids "Mr. Wishheart" (what up Cam)
125
It's not cool to use another nigga's as a threat tho'
126
I said you a bitch, I heard a seven man echo
Block noteReduces the target to a dismissive caricature
TargetAristo
MeaningWhat it means: In “I said you a bitch, I heard a seven man echo,” Drake replaces Aristo's preferred identity with a degrading label intended to make the opponent look ridiculous or contemptible. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The label gives the audience a short, repeatable frame for the feud; repetition of that frame can shape how Aristo is remembered.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
127
You saying I hustle, my source for currency coke
Multi-line diss block
128
They saying you never moving it and currently broke
129
And you risk doing crack time and hang around black crime
130
Just so you can have something to say in you rap lines
Block noteTurns money and possessions into leverage
TargetAristo
MeaningWhat it means: In “They saying you never moving it and currently broke,” Drake contrasts financial power or possessions with Aristo's alleged lack of money, access, or control. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The comparison converts status into material evidence and is meant to make Aristo's success claims look hollow beside something listeners can picture and measure.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
131
They say Drake killed it like young girls at a private school (I did)
Multi-line diss block
132
Dog if I were you, I tell you what I would do
133
I would cut ties with the cops and just make them fire you
134
Lose the body pack and the velcro you feed the wire through
Block noteForces the dispute into a direct contest
TargetAristo
MeaningWhat it means: In “Lose the body pack and the velcro you feed the wire through,” Drake addresses Aristo as an opponent who must prove the claims being made rather than rely on reputation. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. The challenge narrows the argument to performance under pressure, where refusing or failing to answer can itself be presented as a loss for Aristo.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
135
Tell them not to call and that's even if they require you
Multi-line diss block
136
'Cause they the only people recording that wanna hire you (it's true)
137
With what I spend in a weekend I could acquire you
138
Some of them believe you got money you little liar you
Block noteTreats the target's persona as fabricated
TargetAristo
MeaningWhat it means: In “Some of them believe you got money you little liar you,” Drake says Aristo's public story or image is false rather than a reliable account of who the target is. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. Once the persona is presented as invented, the boasts and accusations built on it become easier for listeners to dismiss.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.
139
But, I don't admire you, short niggas tell tall tales
Multi-line diss block
140
Good riddance Aristo I just retired you!
Block noteTurns the target into a visual punchline
TargetAristo
MeaningWhat it means: In “But, I don't admire you, short niggas tell tall tales,” Drake reduces Aristo to an exaggerated physical caricature instead of engaging the target's preferred public image. Why it was said: The track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording. A visual insult is easy for an audience to remember and repeat; the goal is to make ridicule of Aristo travel beyond the song itself.
ContextThe track comes from Drake's early Toronto battle period and directly addresses a local opponent named in the supplied recording.