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[DISCUSSION] Wrote an essay on rap beef/diss tracks, tell me what you think!
The Birth of the Death of a Rapper
While the inception of the diss track predates hip-hop, by the 1990s, it became synonymous with the genre — something we've come to expect as two rappers engage in conflict with one another. You don't see your favourite Fantano or Pitchfork endorsed artists having it out over Twitter. The 1975 and Arctic Monkeys aren't dropping songs to throw shots at one another about who got the most reblogs on a Tumblr post or who's got the fanciest pair of Doc Martins. When we think of beef, we think about hip-hop — the art of rapping specifically. West coast to east coast tensions, interpersonal drama within musical groups, and yes, even YouTuber spats have lead to going bar for bar over wax. The Logan Pauls of the world have gentrified this practice, but I digress.
I've always considered hip-hop to be a competitive sport of sorts. Rap groups and labels can be viewed as teams, i.e., Wu-Tang Clan and G.O.O.D. Music. You even have your star players like Kendrick Lamar or JAY Z. As with sports, it's the only genre in music where being the greatest of all time is widely debated. Egos run high, and several rappers have donned this mantle in a sort of self-actualization manner. When you're deemed the best, either by your own volition, or others, competition tends to rise to the occasion. Deep down, everybody wants to be the best at their vocation — especially when there's a symbolic crown for the taking.
Competition can be the most healthy event in any persons' pursuit of success. If Nintendo wasn't challenged by Sega in the early '90s, the company would inarguably not be as innovative as they are today. They wouldn't have to be. Their firm grip on the video game industry would remain as they continued to wipe their ass with hundred dollar bills. Bringing it back to hip-hop, this is quintessential since life is a breeze while you're sitting on a throne, head in the clouds, resting upon your laurels. Once a rapper is challenged, it brings out somewhat of a fight or flight response, and the attacked can either put their tail between their legs or rise to the occasion to prevent stagnation.
Diss tracks can bring about a kaleidoscope of emotions. They can be humorous, braggadocios, biting, or even revealing. They are the purest form of entertainment within rap. Upon revisiting classic quarrels, it would appear that there are three specific and distinct categories of disses that I've colloquially categorized as; The Critique, The Revelation, and The Point of No Return. Since subjectivity is prevalent in music, one would think it impossible to declare an undisputed winner of two rappers going back and forth. The apparent victor of the altercation would be the hip-hop head. We get to sit back and enjoy while our favourite rappers fight tooth and nail to maintain their respect and even legacy. Let's take a look at the many ways you can skin a cat in hip-hop.
It goes without saying that JAY Z and Nas are two of the greatest MC's to ever spit. With Notorious BIG's untimely passing, the title for King of New York was up for the taking, and these two saw fit to claim it. JAY Z was partly inspired by Nas during his early career — but then again, who wasn't? In a classic case of idols becoming rivals, tensions rose between the two east coast MC's. When JAY Z dropped 'Takeover,' he mistakenly poked the bear.
This was more than throwing shade toward one of your friends for fun or visiting /roastme — these two knew each other well enough to know what would leave the other wounded and begging for mercy. They were fed up with throwing jabs, it was time for haymakers. JAY Z would take Nas' street credibility and spotty discography into question by saying,
"Four albums in 10 years, nigga? I could divide
That's one every, let's say two, two of them shits was doo
One was 'nah,' the other was Illmatic
That's a one-hot-album-every-10-year average"
And then Nas dropped Ether. It was as if he had been in the hyperbolic time chamber, honing his craft — waiting for a challenger to approach. He spends almost five arduous minutes firing at Jay on all cylinders. You stole your entire style from Biggie — check. You aren't getting women because of your looks — check. You're a misogynist — check. You're a Stan — check. "Eminem murdered you on your own shit," — check. Nas had hit a home run while Jay had barely reached first base.
This was a jaw on the floor event, everybody had their take about who was the victor. Thankfully, neither of these tracks were career killers. This should be viewed as a net positive as each disses dropped within some of the most well-known albums in their repertoires. This was the fire under your ass situation that both artists needed. It's clear to me that Nas took the gold medal. Jay brought a gun to a knife fight, and Nas brought a rocket launcher. Following this historical moment, you didn't just lose a rap beef — you got Ethered.
Mentors and co-signs in hip-hop are as old as the genre. To this day, household name rappers continue to take lesser know artists under their wing. The good outweighs the bad in these situations. You can get exposed to a garden of producers and rappers to work with and build your network more rapidly than if you were to join the rap game in a grassroots fashion. Dr. Dre is an excellent example of this. We wouldn't have Eminem, 50 Cent, Kendrick Lamar, or Anderson .Paak without his guiding hand.
The downside of this is that you typically inherit old beef. They're passed down to you like your older brothers Element t-shirt that is a size too big — you don't want it, but it's apart of the gig. This happened to Drake when he signed with Cash Money. There had been animosity between Lil Wayne and Pusha T for about a decade before he was dragged into it. When Pusha T released 'Infrared,' he had contemplated this meticulously.
All Pusha T had to do was bring the spotlight back to the fact that Drake had a ghostwriter to provoke and unsuspectingly bait Aubrey. Drake replied with the retroactively tame 'Duppy Freestyle.' He claimed that Pusha T was an 'approachable dude,' that he didn't sell as much coke as he often boasted about, name-dropped his fiance and poked fun at the fact that his relevance was waning, saying,
"I had a microphone of yours, but then the signature faded
I think that pretty much resembles what's been happenin' lately"
This was the "you just activated my trap card,' of hip-hop. Almost immediately, Pusha T dropped the infamous, 'The Story of Adidon.' Drake had lost before you even clicked play on SoundCloud. Once you saw the cover art that showed a young Aubrey Graham in blackface, it was over. The song was freestyled over the beat for JAY Z's, 'The Story of O.J.' — a record at its core about being black.
Three minutes is the average runtime for a song, but to Drake, it must have felt like a lifetime. Within that, Pusha T made fun of both of Drake's parents, called him insecure about being black, poked at the fact that his in-house producer is dying of multiple sclerosis, and dropped one of the biggest bombshells in rap. He exposed the fact that Drake had a child with a porn star that he was hiding from the world.
"You are hiding a child, let that boy come home
Deadbeat mothafucka playin' border patrol"
Hook line and sinker. What would Drake do? What could he muster up in response to Pusha? Nothing — all that came of this was an Instagram post apologizing for and explaining away the blackface photo. Drake pulled the most Drake move ever by calling a time out in a rap beef. Several months later, during an interview, he cried the blues, complaining that his assailant had taken things too far as if Pusha T had defied one of the nonexistent Ten Rap Commandments. Rap beef had never been this succulent. As a great YouTube comment once said, 'Where were you when Drake got bullied into fatherhood?'
The Point of No Return
Unfortunately, there are instances where conflict has seeped out of the music and wound up in real-life — the deaths of Tupac Shakur and Notorious B.I.G. are the most prominent cases. These are specific examples where tensions rose further than they should have, and lives were lost. Even though this dispute ended in a Shakespearean tragedy, it happened to breed two of the most formative and iconic diss tracks in the history of the genre.
Tensions between the East and West coasts of hip-hop are as old as the genre. From the eighties to the aughts, where you were from dictated the sound you had to work with. It wasn't until the internet age that state-lines began to blur, and you could choose what style of rap you wanted to run with. An interesting anecdote about the East and West rivalry is that Tupac was born in New York but relocated to Los Angeles. The two kings were both at the top of their respective games. Tupac was releasing his best music while juggling a respectable acting career while Biggie was riding off the monumental success of his only studio album at the time, ironically titled, 'Ready to Die.' The initial bump in the road was when Tupac was shot and robbed.
Shakur would survive this shooting and bounce back to good health quickly. The beef really started to heat up when Biggie released the now iconic song, 'Who Shot Ya?' While never directly naming Tupac, it was hard to ignore the high probability of the song being about him. We never became privy on whether or not the song was about Pac, which was a smart move on Big's part. It becomes much easier to deny having a role in something if you haven't entirely implicated yourself. In response to the rumors, Tupac released, 'Hit 'Em Up.' There was no misinterpreting this, Tupac was on Biggie like a smoker on a cigarette after a long, stress-filled day. It was as if Tupac had never heard of the words subtlety or patience-- his grand entrance to this trunk knocking banger was belting out,
"I ain't got no motherfuckin' friends
That's why I fucked yo' bitch, you fat motherfucker!"
At first glance, what appeared to be empty threats and typical rap braggadocio turned into one of the most catastrophic events in music. Everybody knows how this story ends, and there are plenty of conspiracy theories that range from tin-foil to plausible, but that's not what we're here for. Obviously, the culmination of these two artists' careers was premature and devastating, but I don't think we can chalk up death to a couple of rap songs. The issue is much more layered and nuanced than that, and to blame this on a genre of music would be not only disrespectful but outright wrong. I think it's essential to view this case with an open mind if you claim to care about hip-hop or race relations. Music was never and will never be the cause of violence.
Drake vs. Meek Mill, Eminem vs. Machine Gun Kelly, 50 Cent vs. Ja Rule, the cases already listed, and many more not mentioned show that the diss track is here to stay. It would appear that disputes in the 2020s are more watered down--they've gone from beef to hot-dog water. It's a lot easier to throw subliminal shots in a song (Drake is a mastermind at this) or to hop on Instagram Live or Twitter to antagonize another artist you dislike. Since the rap fan is often starved, when we get beef now, we savour it.
It's not every day that you find out Drake is a father or hear Eminem playfully jabbing at a would-be Stan over wax. There is nothing more satisfying than hearing two of your favourite artists tear each other a new one over a hard-hitting beat. Do you recall the old Wendy's advertising campaign? It would frequently pose the question, "Where's the beef? -- I think we've found the answer. You'll find all American Grade A beef under all of the other toppings and condiments when you're a fan of rap. Now relax and have a bite.