Forgotten Beefs: N.W.A. vs Romeo & Master Rhyme
Wednesday August 26th 2015,
Filed under: Features,Forgotten Beefs,LA LA Big City Of Dreams,Shots Fired
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DJ M-Walk, who you may remember as Tone Loc’s DJ, produced a song for Romeo & Master Rhyme in 1987 which sampled ‘To Be Real.’ It was picked up by Delicious Vinyl and remixed by the Dust Brothers, and contained some lines which were seemingly aimed at another local LA crew:

M-Walk don’t dig dirty dudes dealing dope/so stop saying sess ’til the suckers say soap
Rhymes raps and riddles of rhymes he’s real raw/said seven sorry suckers saw [O’] Shay on the Shaw
And that’s no lie, and if you want to try/you can come and try and I won’t even ask you


Awesome Dre > Eminem
Wednesday August 12th 2015,
Filed under: Forgotten Beefs,Rap Mysteries,The 80's Files,Video Clips
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I always wondered why Detroit’s Awesome Dre had a song going at Kool Moe Dee on his highly enjoyable 1989 album, You Can’t Hold Me Back. Now that I’ve heard his second single, it makes a little more sense. It appears that Dre took it upon himself to fire shots at both LL Cool J and Moe Dee on separate songs. This mystery was finally solved when Werner interviewed Dre in 2009:

No Country For Old (Rap) Men: The Pain of the Ignored Diss Record
Thursday July 30th 2015,
Filed under: Features,Forgotten Beefs,No Country For Old (Rap) Men,Web Work
Written by:


Nothing worse than pouring your heart and soul into shitting on another rapper only to be greeted by deathly silence.

No Country For Old (Rap) Men: The Pain of the Ignored Diss Record

Video: Funkmaster Wizard Wiz got beef with The Almighty KG from the Cold Crush Brothers
Thursday April 02nd 2015,
Filed under: Forgotten Beefs,Rap Veterans,Video Clips
Written by:

Almighty KG was meant to visit Wiz in Atlanta but never showed up. This was the result.

Did Schoolly-D Really Bite Spoonie Gee’s Style?
Thursday March 05th 2015,
Filed under: Features,Forgotten Beefs,Rap Mysteries
Written by:

Pic courtesy of Fat Lace.

Back in 2006 I wondered why Schoolly-D never responded to Spoonie Gee’s ‘That’s My Style‘, included lines such as ‘Come in here from where ever you came/tryin’ to steal my style and plus my name.’ As was pointed out in the comments section, Schoolly fired back with a couple of lines at the beginning of ‘Housin’ The Joint‘ (‘You say I tried to diss you and I stole your style/but the days you was rockin’ I was still a lil’ child’), but I’ve always found this to be a weird piece of rap history, as I’d never noticed any similarities between the two. Looking back now, I can kind of see how the similarity in their names and the fact that the opening story in ‘P.S.K.’ involves trying to pick up women from a car in a similar vein to the start of ‘Love Rap’, but it still seems like a stretch.

In recent years I was able to speak to both parties involved and get their sides of the story, as well as a third party perspective:

Why Can’t Ice Cube Keep Any Rap Friends?


When it comes to burning bridges, O’Shea Jackson may be the most accomplished hip-hop artist in the history of the music. It seems as if everyone who has ever had even the slightest involvement with him on a professional level has either gone on to record a diss song about him or made a series of angry Facebook posts filled with furious anger. Is Ice Cube really the “modern day Jerry Heller” as his former musical partner Sir Jinx insisted during a now deleted series of venomous status updates which implied that Cube continued to exploit musicians and actors working in his movies all in the name of pinching pennies?

Kool Keith Fires Back At Unkut?


Just noticed this comment from Lair dating back to February, where he points out, “I think Keith recorded a diss track just for you off of this article”, linking to a song that dropped a mere 12 days after I expressed my bitter disappointment at Ultramagnetic MC’s Critical Beatdown tour.

While the cover image bares a striking resemblance to the venue I attended, the rhymes don’t really confirm that it has anything to do with my review, unless you consider “You heard the track accurate, that’s what I’m about” to be a rationale for his lip-syncing during the show in question, and “Laugh online…LOL…they stuck!” to be a subliminal aimed at Unkut HQ.

Hold up! On closer inspection, “Caught up in the zone like people with long cords on they phone/they can’t think out the box, so they won’t stay in the box” pretty much sums up everything that the Conservative Rap Coalition is about. Did Poppa Large (pause) just ether me?

Mikey D Apologizes To LL Cool J and Melle Mel

4014796_640 Portrait by Pritt Kelsi

Queens battle MC veteran Mikey D hit up Unkut HQ the other day to make the following announcement:

Mikey D: All through the years, since the 80’s, with [LL] Cool J, each interview that I have the topic of the conversation is always about me and him. Although we went through what we went through, me looking back as a grown man, technically he didn’t do anything to me that was wrong. He did everything that he was supposed to do! But I got caught-up in people’s misery. You know how they say “misery needs company”, so by me still drinking 40 oz’s and still trying to hold on to being the “baddest MC in the neighborhood” title – and you’ve got these miserable people in your ears all the time, hating on him for what he’s doing? Of course I fell into that. I’m going to keep it real and say to him that I apologize for any form of disrespect. I can’t fault a man for my failures. After I left the beer and all of the negative people alone, that’s when I started seeing clearly. Melle Mel also, what happened happened at the New Music Seminar, that was 25 years ago. Let’s get over it. I want to apologize to both of them as a man, because we are all under the same umbrella. Let’s get it poppin’!

Mikey’s new crew Elements of Hip-Hop consists of Mikey D on the mic, DJ Mercury (who worked with Professor X) and Philly DJ legend Grand Wizard Rasheen. Calm Before The Storm drops April 2, with Day of Destruction following later in the year.

The Unkut Guide To Rappers Dissing The Source Magazine


It’s tough being the Big Man On Campus in the wacky world of Rap Magazines. The Source had a great run where they were basically unchallenged for years – despite some good work from Hip Hop Connection in the UK, they couldn’t match the access that the Mind Squadd had to cutting-edge New York music for the first half of the 90’s. The influence that The Source had also made them a prime target for disgruntled rappers, all of whom seemed to believe that everything they released was worth “Five Mics” (you may recall Outkast complaining that their debut “only” received 4.5 mics in later tracks). Sometimes it was a little more personal, as was the case for Ice-T, Public Enemy and Cypress Hill, who were all directly criticised in columns and decided to fire back on record. The following is a collection of some of the more noteworthy attacks on the house that Sheck built.

MC Shan – The Unkut Interview

shan 1002b

MC Shan was an original member of the Juice Crew All-Stars, perhaps the greatest collection of MC’s ever to claim membership in the same crew. His QB anthem, “The Bridge” served as the unwitting catalyst in the Bridge Wars, following BDP‘s humiliation at the hands of Juice Crew founder Mr. Magic. Citing the numerous mentions on NasLife Is Good album as the inspiration for his return to releasing music, MC Shan has just released “Let’s Bring The Hip-Hop Back,” insisting that he’s not interested in pandering to the younger audience. We discuss diss records, Mr. Magic and the story behind his “The Bridge.”

Robbie: What was your first introduction to rap?

MC Shan: I was so lucky that I came from a mecca of hip-hop. Grandmaster Flash, Melle Mel and all of them used to come and do shows at the Reese Center in Queens. My window in my bedroom used to face the Reese Center. I was too young to go the jam, but I could open my window and hear Melle Mel and them rocking! Although I didn’t visually hear these cats, I heard them.

Did you always call yourself MC Shan?

That was my first moniker and that’s the one I stuck with. But if you see the first flyer that I ever was on, you will see that it says “Shando.” I was a Five Percenter at that point. That was a party that was done in Corona, Queens. Me, DJ Polo and some other local neighborhood guys.

At what age did you get the bug to start rhyming?

I was around 19 or 20. I was hearing hip-hop before that, but that was when I really [got serious]. Roxanne Shante – you know I came-up with her? We used to rhyme on the benches and whatnot, so after she made “Roxanne’s Revenge,” I’m like, “That’s my little sister – I’m better than her! If she can make a record, I can make a record!” So she took me on tour with her, while she was singing “Roxanne’s Revenge.” I had a great advantage, ‘cos she had the person who had one of the hottest records out at the time. Next to UTFO, she was the hottest thing smoking.

That must have been a great platform to expose you to the public.

It surely was. I learned a lot going on the road with her at a young age. I’m coming from the projects, now all of a sudden I’m going to other countries and other states. My horizons just got broadened so much more. I went from being a street, hood kid to seeing other things that opened my mind up and seeing there’s more than just the projects out here. “Wow! You mean I can go across seas, I get a passport and I get money when I get there?” It was just a whole different vibe for me, and I love this so much that I just can’t leave it alone.

Your first record was “Feed The World” on MCA. How did that deal come about?

They actually approached me about it. They changed who was head of whatever department, she had the hook-up with certain people and she came and said, “Listen Shan, I want you to do this record with Charlie Cassanova.” And I just did “Feed The World.” You know what? I almost forgot about that record until you just said something [laughs].

What was the response like?

It did what it did, but it wasn’t enough for MCA. They didn’t understand my music. They wanted me to do the “Feed The World”, but after “Feed The World” here comes the MC Shan. The “Marley Scratch,” the “Queensbridge.” We did a version of “Queensbridge” – I think it was on the b-side of that – that was horrible. It just dissipated because they didn’t know what hip-hop was about at MCA. They didn’t know how to market it, so that relationship kinda soured between me and MCA, so we just started going independent.

Next was “Marley Scratch” with NIA?

I gotta be on point with you, you know what you talking about! [laughs] NIA Records, that was with the Aleem brothers. I was doing that off a cassette for like six months. That was the record I was going around, touring with Shante with. It wasn’t even a record yet and I was doing it around the country. So by the time it was my turn, the country already knew “Marley Scratch.” “That’s that guy that used to be with Roxanne Shante!” I already had a following.

So you rapped over the beat from a tape?

Yeah, I used to do shows off a cassette. At one point, Marley wouldn’t go and somebody else would DJ for Shante. I would pop the cassette in and just do it! It was only one song, so it wasn’t like I had a whole set. I mighta did a freestyle accapella or something like that, and then I’d go right into the cassette. it wasn’t like I had a whole catalog to sing, so it wasn’t difficult.

Was this when Big Daddy Kane was deejaying for Shante?

No, this was way before Kane was deejaying for Shante. Kane came two or three artists later. We had Polo and G Rap. Biz Markie is the one that brought Big Daddy Kane into the crew. You just couldn’t join the Juice Crew. Somebody in the Juice Crew had to put you down, you couldn’t just come and say, “Yo! I’m nice! Put me down!” It wouldn’t have happened – someone in the Juice Crew had to induct you into it, it wasn’t like it was an open, free-for-all audition.

I imagine “Marley Scratch” must have had a lot of impact?

It did what it did, for that time. That was the time of bigging-up the DJ. That’s what MC’s started out as, so that was just traditional in hip-hop.

Next was “Beat Biter” b/w “The Bridge”?

Right, and that was done through Pop Art outta Philly. That was supposed to be my label.

Lawrence Goodman?

Lawrence and Dana Goodman – boy do you know your things! That was on their label, they gave us distribution on it and it was just called Bridge Records. How “Beat Biter” came about, it was because LL had took the beat to “Marley Scratch.” If you was to play “Rock The Bells” and “Marley Scratch” side-by-side? That was “Marley Scratch” beat pattern. In those days we had a lotta pride in being an artist – be original, don’t copy and if you said something that was close to mine? It was like, “You a biter and I’mma diss you!” When he took my beat, that was a total violation of hip-hop ethics. We would say, “Don’t bite a rhyme,” but I took it to another level. “Don’t take my beat or we’ll have a problem!”

Did LL ever respond?

He never responded. There’s a DVD out called Beef and they tell the story of all the LL battles that he ever had, and they briefly show me but they never mentioned me. It’s like they just tried to look over the fact that Shan went at LL. As far as me and LL having shows together, we used to tour together, that’s how he got my “Marley Scratch” beat. We had one show where we were supposed to battle – it was in Syracuse – and I did that “Beat Biter”. Marley was cutting the record up, back and forth. I went over to the turntable and I snatched LL’s record off and I snapped the record! I still had the microphone in my hand, and when I snapped the record the sound resonated through the speakers, the crowd went crazy and LL never got on stage that night! They tried to his limo over, just for that. True story.

The b-side featured the legendary song “The Bridge”, of course.

“The Bridge” was actually a cassette that was circulating in The Bridge for years before it ever came out. Everybody in Queensbridge had the cassette. That was never intended to be a record. We had a festival in the park, so one night we came home from a show, and Marley said, “Yo, let’s do something that we gonna play in the park, about the Bridge.” It was a cassette for longer than people know. That was our anthem – to us, for us and by us, and we were the only one’s listening to it. Marley Marl was on the radio with WHBI, so whatever I made at home today was on the radio tomorrow night. When it went on the radio and people heard that [does the sample], it was just like, “Wow!” It was a new sound. I’m just happy that it was me that recorded it.

How long before the record was it circulating around?

Maybe a year before – a year and a half maybe. “The Bridge” was just put on the b-side of “Beat Biter” as a filler. Now you see how fate is? A lot of the time you tried to push the a-side and the people would end-up liking the b-side better. Like UTFO – that :Roxanne, Roxanne” was the b-side!

It had a harder sound than a lot of records from the era, not to mention schooling people about the old school Queens dudes.

That was the first “rep your hood” record. They had “Boogie-Down Bronx,” but the Bronx is a big borough. Queensbridge is just a six-block tenement in Queens. I represented Queens, but I actually was just representing that little six-block area underneath the 69th Street bridge – that was it.

Can you tell me more about the people you mentioned on the song?

Jappy Jap was one of the DJ’s that used to DJ in the park. Larry Larr was Marley’s older brother. Gas – he was a DJ. Then I started naming the rappers – Dimples D, Shante, Craig G – so I went through the history of Queensbridge. Then at the very end the message was “Go to school and do the right thing,” music had a message back then. Now the message in music is “Sell drugs, get big money.” These artists don’t have the staying power that we had back in the days. The impact that we made on this music can never be made again. You can never do the first thing twice.

Another record I enjoyed was “Cocaine.”

That was a true story. One day I was getting high and I just thought, “Wow!” I was high, in a zone – I don’t have any shame in my game, it is what it is – and I’m sitting there thinking, “Dang! How can I make this into a song and freak people’s minds out?” So I made it as a metaphor. I was talking about a girl all the way through the song, and then at the end I said, “Don’t you know by now that her name was cocaine?” And the crowd was like, “Woah!” ‘Cos cocaine was the in-drug at that point. Everybody was getting high, but they want to put it on Shan like I was the only one smoking crack and doing cocaine in the business, and that’s fine! I’ll take that! But that was the drug of the time.

On the live version you hear the whole crowd bug out at the end.

That was taped at The Red Parrot. There used to be a club in Manhattan on 57th street, and it was just one of them nights that we did that. It was a ‘BLS party and ‘BLS used to always have me on their parties. When I got to that “Cocaine” part, it was like [imitates crowd scream]. I can still hear the screams, I remember it like it was yesterday. I was wearing a denim suit, it’s so clear to me. I wasn’t high that night, that’s why it’s clear!

So how did the Cold Chillin’ situation come together?

We were already together – Magic, me, Ty, Marley, Shante – and we were doing such numbers as an independant that Warners Brothers had took notice. They wanted to get in on that. We were the first label to get a major distribution deal out of what we were doing. It was a blessing and a curse at the same time. They signed us on a good note, but then all of a sudden, the upstairs people didn’t have faith in hip-hop. You would always hear, “That’s not an artform, that’s not real music. It’s never gonna last.” This is what prompted me to do Play It Again, Shan. I took it totally to the left. When they seen that, it was like, “Oh my gosh!” I would take a bassline and play the bassline over, or I liked the strings from this song so I’d get the keyboardist to pay it over.

So you were trying to demonstrate the versatility of hip-hop with that album?

I was just trying to be an advocate for hip-hop at that point in the game. They pumped so much money into the video for “It Don’t Mean A Thing.” They got a movie producer to produce that video. They took over the whole first floor of the Beverly Wilshire Hotel to do that. They put so much money in behind it, because, “OK, we’ve got something that we can down to!” They had Carol Davis, who was one of the Warner Brothers executives girlfriend at the time, singing on it.

What set-off the problem between you and Craig G? I took that “Even If I Tore It” as a response to him?

Hold on…Craig G? That was never done. “Even If I Tore It” was in response to the crap people were saying. That was just me being braggadocious.

What about the songs Craig G did about you? “Ripped To Streads” [sic] and “Goin’ For The Throat”?

You can’t believe everything you read in these publications. Craig G was called “The Son of Shan” at one point in the game. He was the next one up, he came in behind me, so Ty and Magic, they claimed him as that.

What about Cool C’s “Juice Crew Diss”?

Steady B’s first record – I wrote that for him. “Take Your Radio.” Lawrence and Dana couldn’t get their hands on me, because we broke off from them. They couldn’t get Shan to write no more stuff for Steady B. I was probably one of the first ghost writers ever! They wanted the spot that Shan had so bad that they went and found a dude that sounded so much like me. When I hear a Cool C record I have to sit back and listen to it twice. “Hold on – did I say that? Is that me?” That’s how close Cool C sounded to me!

Can we talk about “Kill That Noise”?

My main regret on that little hip-hop battle thing is that Marley didn’t let me make another song. I was that artist back then that you couldn’t say nothing about me. Make a record? I’mma do something about that. Marley would not make another beat for that, and I gotta live with that stigma to this day that I didn’t come back with another song. Marley thought, “It’s gonna make Kris famous!” “He already famous off the first joint!” To this day, if I’d have known what I know now, I would have said, “Screw Marley!” Went and got another producer and did what I wanted to do in the first place, and it wouldn’t be a thing of, “Oh, you never came back with another record!” ‘Cos it makes me look like an LL. LL didn’t respond to me, and then it looks like I didn’t respond to Kris – but that was Marley’s fault, and I gotta live with Marley’s bullcrap to his day. I wanted to do something else! I was writing things dissing LL through Steady B, and this was after I did “Beat Biter”! Any artist that was in the game at that point of time knew Shan was that dude that will keep on coming at you! But the world don’t know it like that. “Oh, you never made another record about Kris. Kris destroyed your career.” It doesn’t go like that.

The real story is after all of these years of dealing with Cold Chillin’, they jerking you, I produced Snow! So at that point I really didn’t have to deal with Warner Brothers dropping me. I went and found another artists so I didn’t have to deal with Cold Chillin’. They still had me signed for more albums – although Warner Brothers dropped me, Cold Chillin’ still had me – I wasn’t outta the noose! Before I was going to make more records with these characters here, I’m gonna go on tour with Snow. Screw that! I got out of the rap game for reasons other than people think.

Was the Livin’ Large label part of Cold Chillin’?

They couldn’t put it on Cold Chillin’, ‘cos Warner Brothers still had Cold Chillin’ underneath their wing. So what they did is they made Livin’ Large – although Warner Brothers wasn’t doin’ nothing with my music, I’m still stuck with these bums – why go through the trouble?

Did you record a whole album for them?

No, I just did “Don’t Call It A Comeback”, “Peenile Reunion”, and “Hip-Hop Ruffneck.” They gave me a video budget, and I did two videos for $15,000. I did “Hip-Hop Ruffneck” video and “Peenile Reunion” video with a student at a school. I can’t even find those videos anymore.

Have you heard all the remakes of “The Bridge”? There have been at least seven.

Wow, that’s another bootleg that Marley and Ty probably did. Nah, I thought there was just my version and then “The Bridge 2001.”

What was the story with the Juice Crew 3rd Generation?

That was Tyrone’s son. Fly Ty using the Juice Crew moniker to try and push his son into the game. But it’s too late! You done already crossed a whole bunch of people in this business, Ty. Russell and them take your calls on the strength, but none of them are gonna do nothing with you. It just didn’t work. Here we are 2012 and you don’t hear nothing about Juice Crew so-and-so. I was the last stand-out. Tyron and me? Shan was his partner. Marley didn’t hang-out with him, it was me, Magic and Tyrone. Now it’s at the point where Tyrone stands alone.

What can you tell me about TJ Swan?

He came into the crew through Biz Mark. Swan was the first crooner in hip-hop, and my record was the first hip-hop ballad to ever come out. After “Left Me Lonely” and “Nobody Beats The Biz” and all of that stuff, Marley was getting Swan a deal, and Swan’s deal fell through ‘cos of all the sucker stuff Marley was doing. Marley blew TJ Swan’s whole career. I don’t even know where he is to this day! TJ Swan right now is like “Find Waldo”.

Why weren’t you on “The Symphony”?

Marley Marl was a crab. I already knew the steelo that when Marley makes a tape, it’s gonna become a record, and you’re not gonna get paid. After we was doing that photo shoot, Marley was like, “Yo, let’s go make this tape!” I’m lookin’ at them like, “Y’all can go make the tape! I’m not goin’, ‘cos I already know what it is. It’s gonna become a record.” Ask any of them how much they made off the record? I actually think I won on that one, I get asked about “The Symphony” more than I would if I was on it!

What are your best memories of Mr. Magic?

I don’t look at Magic like everybody else does. Magic was my partner, he was my friend, he was a dickhead, he was an asshole, he was a fuck-up – excuse my language. Magic was running partner when we was on tour. Me and Magic bunked together all the time – Magic liked it hot in the room, I liked it cold. We were like night and day. Magic was the the craziest person I know. You give Magic a Budweiser? Magic was known for cursing people out. Magic was known for telling an artist, “You’re record sucks, punk!” Look at it like this – the king can walk through the kingdom and smack everyone in the head and no one can say nothing to him! He wants a piece of your bread? He can get it. Magic was the king in this kingdom, and whatever he said – goes – and that’s the way he carried himself. But to me? He was a dickhead! [laughs]

Originally published at Complex.

Does Rakim’s Break The Wrath In Half Exist?

As Rakim tells it in the above video with RA The Rugged Man (who looks ‘like a teenage girl on her first date’ according to the YouTube comments ), he agreed to remove his four lines aimed at Big Daddy Kane from the first version of ‘Let The Rhythm Hit ‘Em’ after Ant Live played like Sir IBU on some ‘I’m The Peacemaker’ shit.

Dr. Butcher, who used to DJ for Kool G Rap, offered this version of events:

Rakim, from what I understand – I didn’t hear it – but I know he had made a record called ‘Cut The Kane In Half’, and it was gonna be a diss record for Big Daddy Kane but he didn’t put it out. But if you listen to his rhymes, he says little slick stuff on the Follow The Leader album that was directed at Kane. Because there was a lot of stuff goin’ on about how was better and who was the best. Rakim was pretty quiet, he never talked about. Kane was a little more verbal about it. They never really made it publicly known, but he definitely was gonna do something.


Video: Lord Finesse – LOTUG Diss Freestyle (Rocksteady Jam 1992)

Here’s some rare footage of my favorite live ethering ever, as the Underboss dismantles Lords of the Underground‘s Mr. Funkee in classic BX tradition. Courtesy of brollinHH in the comments section of my original post.

LL Cool J Vs. Canibus Revisited

Predictably, my comment the other day that LL ‘never lost a battle’ ruffled a few feathers among Canibus fans. LL vs. Kool Moe Dee was already covered a while back, but I guess there’s no other way to settle this than to dig out all the garbage songs recorded in this drawn-out and unsatisfying war of words.

V.I.C. Responds to T-Ray
Thursday May 21st 2009,
Filed under: Features,Forgotten Beefs,Interviews,Not Your Average
Written by:

Way back in August, 2007 I published a three part interview with T-Ray, which included numerous references to V.I.C., a number of which weren’t exactly flattering. So when I finally got the chance to speak with Vic it was only right that allow him the opportunity to respond. Here are the highlights:

Robbie: What was your reaction when you read what Todd said about you in the interview I did with him?

V.I.C: He did say a lotta crazy stuff in that interview…stuff that I found very bizarre.

So I have to ask – did he actually hand you half a million dollars to record the Ghetto Pros album?

I was hoping that anyone that read that would have enough sense to say, ‘OK, who gives out half a million dollars for an independent project?’ For a compilation, none the less! Who gives that out? So that was all bullcrap. The whole recording budget was probably 250, 200 [thousand]. You’re talking about everything – you’re talking about side artists, you’re talking about studio time. Especially in 2000, 2001. Right now, if you had a budget like that where everyone had Protools in their house, that’s fine. But you’re talking about a budget that’s gonna go in the blink of an eye…especially if you have someone like Nate Dogg on the project, that take like $32,000 to do that song. [laughs]

Who Let The Flamers In?

Kanye‘s new line of Wally’s

This is something that has had my goat for a long time – the near-extinction of the ‘regulators’ who used to keep this here rap shit in check. You know who I’m talking about – the hard heads who would throw bottles at weak rappers on stage, roll the herbs for their new Nikes and generally punch random toys in the throat just for living. It may not have been beer and skittles if you were the unwitting vic of one of these characters, but you couldn’t help but respect the hell out of what they stood for as they emptied your pockets. But as rap got bigger, the risk associated with attending a live event rapidly decreased, and before we knew it, spoken-word hippy douchebag rappers were performing on stage with no fear of reprisal by the turn of the century. Nine years later, it’s gotten to the point where only a handful of MC’s are willing to speak-up against the clownish attire and generally fruit-flavored behavior of ‘next-school’ rappers who are flooding the internets. Save the odd switched-on blog commenter, it seems that the only people willing to ‘Just Say No’ to dressing like a homo are myself, some guy called Mazzi and Termanology. Term initially caught my ear, but his ‘whisper’ flow was starting to lose me until he made the brave move to fight back against Hipster Rap Douchbaggery. The main question poised by this Boston-bred MC who now resides in the BX is, “Since when is it cool to dress like a dude who fuck’s another dude?” Since about a year ago, by my estimation. It’s only a matter of time until some broadsheet accuses him of ‘homosexual panic’ I guess.

Termanology – ‘Tight Pants Are For Girls’

Is Term Speaking The Truth?

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Forgotten Beefs – Stezo Vs. EPMD
Monday December 29th 2008,
Filed under: Features,Forgotten Beefs,Steady Bootleggin'
Written by:

This one is a bit different. This track wasn’t officially released until a couple of years back via Stones Throw, so whatever issues Stezo had with his former employers was long buried by the time anyone heard this.

Here’s what Stezo’s producer Chris Lowe had to say about it when I spoke to him a while back:

Robbie: There was an old song from Stezo that came out a year ago where he had some words for EPMD. What’s the story there?

Chris Lowe: We was still friends, that was when we was younger. Stones Throw got a hold of that stuff years after and decided to put it out. We all pretty good now – Erick and Parrish are back on tour right now. I speak to Stezo and I did a record with Parrish on my last album.

Why am I pulling this out now? For starters, it has a quality flip of ‘Nautilus‘. Oh, and this shit is hilarious.

Stezo feat. Dooley O – ‘Piece of the Pie’

Stezo – ‘It’s My Turn’ video:

Forgotten Etherings – Erule Overrules Ja-Rule
Thursday August 07th 2008,
Filed under: Forgotten Beefs,Steady Bootleggin'
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And you thought KRS vs. Nelly was a one-sided battle? It seems Erule took exception to Jeffrey Atkins nom de’plume and decided to set the record straight. It didn’t exactly set the world alight back in 2001 but dude’s flow is impeccable as always.

Erule – ‘One Rule’

Everybody Hates Moe (Dee) Pt. 2

The answer-record craze was still going strong in 1987, as no-name hopefuls jumped on whatever bandwagon them passed by in an attempt to make a little noise in the ever-crowded rap world. The crabs in a barrel, if you will. Kool Moe Dee‘s “How Ya Like Me Now” was a big record, so it’s no surprise that some rocks were thrown soon afterwards.

The motivations varied from blatant jocking of Moe’s rival LL (“Moe Dee Get Mad”), hilarious answer songs (“Fuck Me Now”) to genuine grudges (“Try To Bite Me Now”). Spyder D at least has a case – he released a single called “How Ya Like Me Now” shortly before the shiny Teddy Riley version, and also mentions that Treach 3 used his “Smerphie’s Dance” beat years earlier. Both he and the Incredible Two also seem to have taken offense to the “Rap Report Card” that was on the back of KMD‘s LP, but they’re likely just mad that they weren’t graded). Willie D flips the whole shit in classic H-Town style, turning the song into a classic sex joint which is easily the best of the bunch in my book.

Everybody Hates Moe (Dee) Pt. 1
Thursday February 07th 2008,
Filed under: Crates,Features,Forgotten Beefs,Kool Moe Dee Special,Steady Bootleggin'
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What exactly was it about “How Ya Like Me Now” that inspired so many diss and answer records aimed at Kool Moe Dee? Was it his squeeky clean New Jack swing beats, his trademark shades or just his super-arrogant attitude (even for ’87)? Unkut Dot Com will be taking a look at some of the numerous anti-Moe Dee songs that emerged in it’s wake.

Awesome Dre was a Detroit hardrock who wasn’t feeling what “Kool Moe She” had to offer, insisting that he “take off the glasses, the sun is not glaring/You look like a welder – nah, Darth Vader!”

Awesome Dre & The Hardcore Committee – “I Don’t Like You (Kool Moe She)”

Unkut meets Wikipedia
Monday April 30th 2007,
Filed under: Announcements,Forgotten Beefs,Not Your Average
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I found this fairly amusing – it seems that my half-baked theories regarding Jeru The Damaja‘s relationship with Biggie have been “immortalized” in the Jeru Wikipedia entry. Here’s the original article and the resulting “fall-out”.

Forgotten Beefs Part 7 – Spoonie Gee Vs Schoolly D
Thursday August 17th 2006,
Filed under: Features,Forgotten Beefs,Steady Bootleggin'
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Spoonie sums up this situation perfectly….

JayQuan’s interview with Spoonie:

You had a song called Thats My Style who was that for?

Schooly D came out with Gucci Time. I just wanted to let him know that was my style.

I thought so. The hi hats on the song were programmed just like ‘Gucci Time/P.S.K

We were on shows together after that. He thought that I would hate him , but we winded up talking and I shook his hand & we were cool. I just wanted to let him know that everyone thought that he was me.

Since Philly’s finest never responded on record (unless it was something subliminal), this falls more under the forgotten answer records heading but who knows – maybe Schoolly School had a little live routine firing back at the Godfather of Rap? Or quite possible he could have cared less about the whole thing…

Schoolly-D – Gucci Time / P.S.K. [twelve inch single, Schoolly D, 1985]

Spoonie Gee – That’s My Style [twelve inch single, Tuff City, 1986]

Friday June 23rd 2006,
Filed under: Features,Forgotten Beefs,Magazine Vaults,Steady Bootleggin'
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Remember this post about Freddie Foxxx and Ultramagnetic? I finally dug-up the Source article about the First1 Annual Rappers Boxing Match. (more…)

  1. 1. Sadly, it was also the last.[back]

Forgotten Beefs Part 6 – MF Doom vs Parker Lewis
Tuesday April 11th 2006,
Filed under: Features,Forgotten Beefs,Magazine Vaults,Steady Bootleggin'
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Sorry to confuse any UK rap fans, but the Parker Lewis I’m referring to isn’t in fact the British MC/producer who provided the beat for the first song on Fishscale (Lewis Parker), but the name of the lead character from that TV show that tried to recreate the whole Ferris Buellers Day Off vibe. In what must have been a slow news month at The Source, Matty C reported that the star of Parker Lewis Can’t Lose shocked the crowd at Ed Lover‘s birthday party with some “impressive” mic skills. All I’ve got to say is that Corky Nemic has to one of the whitest names ever. (more…)

Biggie Smalls & Jeru The Damaja – Friend or Foe?
Monday September 19th 2005,
Filed under: Features,Forgotten Beefs
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Jeru BIG

As was revealed in the “Life After Death: Making of A Classic” feature in XXL a while back, Biggie’s line “Yo son, I’m suprised you run with ’em, I think they got cum in ’em, ’cause they nothing but dicks” from “Kick In The Door” was directed at the tracks producer, DJ Premier. B.I.G. was referring to Jeru, who had been perceived as hating on the whole Bad Boy crew following the release of “One Day”. (more…)

Forgotten Beefs Part 5 – Craig G vs. MC Shan
Sunday February 27th 2005,
Filed under: Features,Forgotten Beefs
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In the wacky world of diss records, crew-on-crew crime often provides the funniest moments. It’s one thing to talk greasy about some kid you’ve never met, but when you start riffing with someone you used to hang-out and perform with, things can really get ugly. Such was the case with former Juice Crew buddies Craig G and MC Shan. Having weathered numerous attacks from the outside (“Juice Crew Diss”, “The Bridge Is Over”), as well as in-house rivalries (G Rap and Kane) during their reign at the top of the rap game in the late ’80’s, the loss of super-producer Marley Marl was the death-knell for the this legendary collective.