Bun B On Rap Beefs: "Say Something About My Wife, I'm Looking For You"

Bun B does not consider there’s such a factor as a rulebook governing “rap beef.” In the newest episode Complex’s Mostly Football, particular visitor Bun B used the Pusha T-Drake-Shebib act betrayal as a springboard for his argument, whereas embarking on a non-football-related tangent. To offer you context, the battle begins on “Infrared,” then Drake crosses an invisible boundary by mentioning Pusha’s spouse in his rebuttal, in a lot as Bun B is worried.

“There’s guidelines to rap battles, however there aren’t any guidelines to rap beefs,” Bun defined to his co-hosts. “Cause rap beefs do not essentially begin in a rap state of affairs and do not essentially finish in a rap state of affairs. So it may go any means anyone may need it to go.”

Bun later added, “If someone says one thing about my stunning spouse, I am not making a file, I am in search of you, you realize what I am saying? I am in all probability gonna attempt to put arms on you in some sure conditions.”

Bun B later defined his rationale by making a distinction between his boundaries, and people different rappers. What Drake stated about Virginia, nevertheless infensive, was proof that boundaries in rap beef are merely subjective, and if rappers need to come out the victor, they ten need to stoop to the bottom denominator potential. “Some individuals are gonna take the bottom photographs they will take, and also you gotta be ready for all that,” Bun stated in closing.

Pusha T Manifests Thanos Type Energy During Los Angeles "DAYTONA" Tour Stop

There’s something about those small venues that create the perfect intimate experience. Of course, being in a stadium packed with fans yelling the lyrics like a massive living thunderstorm is an adrenaline rush. But being up close to the artist you came to see just feels more rewarding. There is no space between the stage and the audience, and those who arrived at the Belasco Theater in Downtown Los Angeles were able to stand within inches Pusha T. Opened in 1926, the Belasco is a historic theater that has been renovated for the modern crowd but still holds that old-fashioned aesthetic. 

The crowd that filled the theater ranged from young to old, and varying skin tones and cultures squeezed together to hear Pusha’s tales from the hood. Hustling and drug dealing meant something more when Pusha was on stage. Yes, many rappers are lauded by hip-hop fans for their braggadocious and violent stories while being attacked by those who don’t understand the culture. But the crowd at the Belasco Theater wasn’t filled with drug dealers, gang bangers, or any the characters that riddle Pusha T’s songs. That’s because much like any other form entertainment, such as movies, tv shows, and novels, hip-hop is about selling a story. Pusha was the Thanos this Summer. Much like the Mad Titan, Pusha spent years building up his appearance, attacked with the ferocity a calculated king, and caused the biggest fallout within his industry. Just like we’re still talking about the “snap,” we’re still dealing with the fallout “Infrared” and “The Story Adidon.”  Just like any blockbuster film with a great script, Pusha created a masterpiece with DAYTONA. He stepped onto the stage with the full energy Thanos, and the audience loved it.

When the former Clipse member hit the stage, the crowd pushed towards his presence forcing everyone in the theater together. Pusha split his set into several parts. He performed his album in order, but split it in half. After opening with “If You Know You Know,” which set the crowd ablaze, he performed “The Games We Play” and “Hard Piano.” After completing the first three songs the seven-song album, he reached back to his My Name Is My Name project for “Numbers On The Boards.” He also pulled out a couple G.O.O.D. Music assisted bangers such as “Mercy” and “I Don’t Like.” On stage, Pusha stood in the center a box created by four light poles. Standing at maybe seven foot tall were the long skinny poles, two placed at the front the stage, and two planted directly behind them in the back. Another large slim light was propped in the air horizontally above Pusha, while a smoke machine shrouded the stage in mystery at random intervals. The light and smoke combination wasn’t awe-inspiring, but it added an energetic touch to songs that sound like colors. For example, the lights turned red and the smoke billowed beneath Pusha’s feet during his performance “Infrared.”

Pusha returned to DAYTONA with “Come Back Baby,” and performed the remaining three songs on the album. In the packed Los Angeles theater, fans sat in anticipation a big guest appearance, but none arrived. Pusha and his DJ rocked the entire show by themselves, which made me wonder why such a cinematic album would lack a live band performance. Push did bring a young boy on stage, that he had seen the night before performing at The Observatory in Santa Ana. The Observatory sits right near the border Los Angeles County and Orange County, and Pusha was able to locate the boy through a social media hunt, after he connected with the kid’s energy during his performance.

After completing “Infrared,” Pusha left the stage, but came back for a brief encore. He pulled out another G.O.O.D. Music track, performing his verse on “Feel the Love,” before speaking with the crowd. He assured the theater that DAYTONA was the album the year, which was met with cheers agreeance. After a spirited performance, that was only dampened by the lack a live band, Pusha T made a rapid exit, but not before leaving an impression on all his fans. “I love you, Los Angeles,” he exclaimed. LA requited the emotion.

Has Drake Solidified Himself Among Hip-Hop's Great Diss Writers?

The title Drake’s upcoming album conjures imagery a volatile creature. Either that or a B-list yet still formidable Spider-Man antagonist. Interpretation aside, the 6ix God’s Scorpion has been touted by Preme as heralding the return “pissed f Drake,” a claim you’d think would be bolstered by new single “I’m Upset.” In reality, Drake’s “upset” status felt more tepid, a half-hearted proclamation void any real emotion. A far cry from its predecessor, the incendiary “Duppy,” which took aim at Pusha T and Kanye West alike.

“Duppy” is certainly closer to “pissed f Drake” than anything we’ve heard thus far, and has been celebrated by many as a bloodletting first strike against the G.O.O.D Music empire. In fact, fan response has been damn near unanimous across the board, with talk the next great hip-hop beef already flitting from eager mouths. Even veteran diss-track authors like Freddie Gibbs and Joe Budden have turned their eye toward the ongoing dance. In an era where tempers are more likely to flare on Twitter or Instagram than in the booth, the tete-a-tete between Drake and Pusha has reignited excitement in those nostalgic for the glory days lyrical warfare.

Admittedly, “Duppy” has enough sting to merit similarities to Drake’s latest spirit animal. Drizzy wasted little time in targeting Kanye’s jealousy-driven animosity toward designer Virgil Abloh, while questioning the veracity Pusha T’s acclaimed drug-dealer past, which has been laregely accepted as an authentic origin story.  Of course, there’s plenty more to unpack throughout “Duppy’s” two plus minutes, but the biggest takeaway is this. Drake was hit with shots from a genuinely respected lyricist, and responded tenfold, not twenty-four hours later.

The post-”Duppy” atmosphere seemed reminiscent the “Back To Back” era, with many buzzing over Drake’s decision to drop the subliminals and deal in direct assessments. In fact, it’s hard not to view 2015 as Preme’s original basis for “pissed f Drake.” Not only did the 6ixGod air out Meek with the “Charged Up”/”Back To Back” combination, but he also delivered some fighting words to Tyga on “6PM In New York.” In that case, he didn’t need much to remain effective, rapping “It’s so childish calling my name on the world stage, you need to act your age and not your girl’s age.” Subliminal, yes, but is it truly a sub if the world has no illusions about the intended recipient?

Despite a reputation as a docile romantic, Drake isn’t afraid to leave the Silver City Indigo days behind him. The man has amassed quite a repertoire diss tracks under his belt, and has proven adept at delivering them. Whether he’s targeting Common on “Stay Schemin,” Tory Lanez on “Summer Sixteen,” or the aforementioned cuts, Drake has continued to solidify himself as one the decade’s most accomplished diss-writers.

Yet looking back at hip-hop history, where does he stack up? The court public opinion seems to speak on his battle prowess with a sense reverence, claiming him capable “ethering” foes with ease. To be fair, Drake has proven himself a daunting opponent, and his widespread reach and cult-like following ensures plenty backup. There’s no disputing that. But the question still remains. When it comes to great hip-hop beefs, where does the 6ix God stand?

Charlamagne Tha God Dubs “Back To Back” A Top 5 Diss

Beef has been a longstanding part hip-hop history, and the fierce competitive nature has led to many iconic moments. Naturally, song like 2Pac’s “Hit Em’ Up,” Ice Cube’s “No Vaseline,” Jay-Z’s “Takeover,” Nas’ “Ether,” and Eminem’s original back to back, “The Sauce”/“Nail In The Cfin” have become immortalized within the canon, with each selection celebrated for its ruthless, no-holds barred approach. And those are but a few the classics; diss tracks have damn near been around since chopping samples.

One doesn’t need to be a “battle specialist” to administer a fatal blow. For every Em or Joe Budden, there’s a Gucci Mane coming through with the Jeezy diss “Truth.” In beef, it’s not always about technical ability. For the most part, the disdain simply needs to stem from a genuine place. While lyrically simplistic, Guwop’s “Truth” is devastating in its directness, with a chilling allusion to Jeezy’s murdered associate Pookie Loc. For many, “Truth” has emerged as a classic diss track, yet Gucci Mane is rarely associated with lyrical warfare. Is one nuclear bomb enough to make a mark, or is consistency king?

Many the aforementioned rappers weren’t afraid to get personal, but there’s something to be said about the delivery. Listen to any the classic diss records, and you’ll certainly hear the restrained anger driving each rapper’s cadence. Compare that with Drake, who ten approaches beef with a strangely laid back tranquility. Even on “Back To Back,” Drizzy’s restrained cadence makes a strange juxtaposition with his vitriolic message. Perhaps he simply takes no joy in killing, doing it strictly out necessity. In that regard, he’s closer to a Jay-Z than he is an Eminem, although Jay’s “Takeover” was more ruthless than any Drizzy’s disses.

Consider his introductory preface on “Duppy,” in which he marvels at Pusha’s sheer audacity; at once “why me?” and “do you know who I am?” Suffice it so say, Drake does what he has to do, and does it well. He understands the importance reputation, and will react when tested by anyone other than Joe Budden. His intellect and affinity for articulation allow him to excel in combat, yet his biggest shortcoming cannot be denied. It’s difficult to sound convincing when one sounds equally detached. In fact, he’s exhibited far more passion whilst calling Kelly Oubre Jr. the G-rated insult “A Bum.” Perhaps that’s why his cries “I’m Upset” feel so hollow. If he truly is upset, is a little bit conviction really too much to ask for?

Ask yourself this. In the pantheon hip-hop’s great diss track creators, where does Drizzy stand?

Poll images by Mark Metcalfe/Getty s (yes) and Justin Sullivan/Getty s (no)