A brief history of the rap beef — from Kool Moe Dee to Kendrick Lamar

By Tariq Nasheed

In the ever-evolving landscape of hip-hop, few things capture the imagination of fans quite like a rap beef. The tension, the drama, the lyrical sparring — it’s all part of the culture that has defined the genre since its inception. And in recent years, no feud has captured the attention of the hip-hop world like the one between Drake and Kendrick Lamar.

The beef between Drake and Kendrick sparked intense lyrical exchanges, revealing the depth of competition within the hip-hop world (and crashed the lyric annotation site Genius in the process). In Drake’s diss track “Family Matters,” he launched a scathing attack on Kendrick’s grassroots activism, accusing him of merely pretending to be an activist (“Always rappin’ like you ’bout to get the slaves freed, You just actin’ like an activist, it’s make-believe.”)

Kendrick, undeterred, fired back with tracks like “Not Like Us,” where he addressed Drake’s critique head-on. With poignant lines like “Once upon a time, all of us was in chains, Homie still doubled down callin’ us some slaves,” Kendrick challenged Drake, digging into themes of historical oppression and cultural identity.

The clash between these two titans of rap showcased not only their lyrical prowess but also the complexities of social commentary within the genre.

But the roots of this feud run much deeper than the surface-level differences between the two artists. They tap into a long tradition of rap beefs that stretches back to the very beginnings of the genre.

Consider the legendary clash between Busy Bee and Kool Moe Dee in 1981, a historic showdown that unfolded at the Harlem World Club. Widely regarded as the first major rap beef in hip-hop, this battle reverberated through the burgeoning culture. Busy Bee, a figure immortalized in the seminal hip-hop film “Wild Style” (and also featured in my new documentary “Microphone Check“), was celebrated for his infectious party rhymes. He faced off against Kool Moe Dee, a maestro of lyricism whose razor-sharp wit and intricate wordplay set him apart.

Armed with a barrage of razor-sharp rhymes, Kool Moe Dee delivered blows that struck like daggers, pioneering the use of highly personalized attacks. This landmark battle, remembered as one of the first where such tactics were employed, showcased the power of lyrical warfare in hip-hop. Among Kool Moe Dee’s cutting lines was the now legendary quote, “Hold on, Busy Bee, I don’t mean to be bold, But put that ‘ba-ditty-ba’ bullshit on hold,” encapsulating the intensity and directness that defined the encounter.

Brooklyn’s own Big Daddy Kane found himself embroiled in an early hip-hop conflict, navigating the tense rivalry between Queens’ MC Shan and the Juice Crew, while facing formidable foes like KRS-One and Boogie Down Productions from the Bronx. The feud reached a fever pitch as MC Shan and KRS-One exchanged blistering lyrical jabs on iconic tracks such as Boogie Down Production’s “The Bridge is Over” and “South Bronx”, and MC Shan’s “Kill That Noise.”

In the iconic 1986 rap anthem “South Bronx” by Boogie Down Productions, KRS-One unleashes a scathing attack on MC Shan, rapping, “Party people in the place to be, KRS-One attacks, Ya got dropped off MCA cause the rhymes you wrote was wack.”

The Juice Crew sought to recruit Big Daddy Kane into the fray, hoping his lyrical prowess would turn the tide in their favor and shield MC Shan and other Juice Crew members from verbal onslaughts. However, due to his unofficial status within the Juice Crew, Kane opted to abstain from direct involvement in what became known as The Bridge Wars. Nevertheless, Kane’s later Verzuz battle with KRS-One underscored Brooklyn’s enduring influence on the genre, serving as a testament to its rich contribution to hip-hop culture.

Brooklyn’s impact on hip-hop extends far beyond its borough borders, as evidenced by some of the genre’s most iconic conflicts. The legendary feud between Jay-Z and Nas captivated global audiences, while the tragic rivalry between Biggie and Tupac left an indelible mark on hip-hop history, shaping the culture and narrative of the genre.

One of the earliest rap battles on wax originated in Brooklyn in 1984, with UTFO’s “Roxanne Roxanne” igniting a series of response records. Notably, Queens rapper Roxanne Shante’s diss track “Roxanne’s Revenge” fueled the flames of the Roxanne Wars, underscoring Brooklyn’s pivotal role as a battleground for hip-hop supremacy and highlighting the culture of competitive lyricism.

Amidst hip-hop’s conflicts in the late 80’s, Brooklyn rapper MC Lyte emerged as a formidable force, her sharp lyrics and fearless demeanor earning her respect within the community. Through a series of diss records against fellow rapper Antoinette in 1988, MC Lyte solidified her status as one of hip-hop’s most revered MCs, embodying Brooklyn’s indomitable spirit and commitment to artistic excellence. Lyte’s iconic opening bar on the song “10% Dis” — ”hot damn ho, here we go again” — was later reused by fellow Brooklyn rapper Lil’ Kim on Mobb Deep’s “Quiet Storm” track in 1995.

The rap beef between Drake and Kendrick Lamar symbolizes a longstanding tradition within hip-hop — a clash between commercial success and grassroots authenticity. Drake, with his mainstream appeal and polished sound, embodies the commercial side of the genre, while Kendrick Lamar’s raw lyricism and street credibility represent the grassroots authenticity deeply rooted in hip-hop’s origins. Their feud epitomizes the tension between artists who prioritize commercial success and emcees who prioritize lyrical skill and street credibility. This dichotomy reflects broader debates within hip-hop about the balance between commercial viability and artistic integrity.

While both Drake and Kendrick Lamar wield immense influence and respect in the hip-hop genre, their rivalry has underscored the enduring fascination with competitive lyricism and the perpetual quest to navigate the intricate landscape of success in hip-hop.

Still, it’s widely held among the public that Kendrick Lamar emerges as the victor in this rivalry, his lyricism and artistic depth earning him acclaim and solidifying his position as a dominant force in the genre.