Hit Parade | Music History and Music Trivia
Episode: Here's The Beef Edition Part 2
Release Date: July 25, 2025
Host: Chris Melanfi

I. Introduction

In this episode of Hit Parade, Chris Melanfi delves into the storied history of musical "beefs"—contentious relationships between artists that have spanned genres and decades. Building on the previous episode's exploration of early answer records from the 1920s to the 1970s, Melanfi shifts focus to the pivotal role of diss tracks in hip hop and their evolution into mainstream music phenomena.

II. Early Hip Hop and the Emergence of Rap Beef

Braggadocio in Early Rap

Chris begins by highlighting the foundational elements of hip hop, particularly the culture of boasting inherent in early rap. He references 1979's "Rapper's Delight" by the Sugar Hill Gang, noting MC Big Bank Hank's declaration:

"I got more clothes than Muhammad Ali..."
[02:31]

The First Known Rap Beef

The narrative transitions to the first documented rap beef in 1981. Busy Bee of Busy Bee's Inc. criticized fellow rappers' rhyming skills during a live performance, prompting Cool Mo Dee of Treacherous 3 to retaliate with sharp disses. This live showdown, captured on tape, set the stage for rap beef as a dynamic, live competitive medium.

"Everybody salute to the new mc Champ..."
[03:32]

III. The Roxanne Wars

UTFO's "Roxanne Roxanne"

In 1984, the rap group UTFO released "Roxanne Roxanne" as a B-side track. The song's narrative about an unapproachable woman unexpectedly captured widespread attention, eventually breaking into the top 10 on Billboard's R&B chart by March 1985.

Roxanne Shanté's "Roxanne's Revenge"

Roxanne Shanté, a teenage emcee from Queens, responded with "Roxanne's Revenge," widely regarded as the first major rap beef single. Targeting UTFO's portrayal of women, Shanté's seven-minute freestyle not only sold a quarter-million copies locally but also charted nationally:

"You should be like me a fly MC don't never have to bite..."
[06:19]

The Escalation of the Roxanne Wars

The success of "Roxanne's Revenge" sparked a flood of response tracks, including UTFO's "The Real Roxanne." By late 1985, the R&B charts featured multiple Roxanne-themed songs simultaneously, leading to what became known as the Roxanne Wars.

"You think you're touching me boy you must be crazy..."
[09:01]

IV. Bridge Wars: Queens vs. Bronx

MC Shan vs. KRS1/Boogie Down Productions

The mid-1980s saw the Bridge Wars ignite a fierce rivalry between Queens and the Bronx. MC Shan's "The Bridge" celebrated Queensbridge as the heart of rap, provoking Boogie Down Productions (BDP) leader KRS1 to respond with "South Bronx." This exchange underscored the geographical tensions within the burgeoning hip hop community.

Key Track: "The Bridge Is Over"

BDP's "The Bridge Is Over" became the hallmark of this feud, praised for its lyrical prowess and production quality, despite not charting nationally due to the nascent state of rap's mainstream acceptance.

"What's the matter with your MC Molly Ma?..."
[11:46]

V. Evolution of Beef in the Late 80s and 90s

Cool Mo Dee vs. LL Cool J

In 1987, Cool Mo Dee elevated rap beef with his album "How U Like Me Now," featuring diss tracks aimed at LL Cool J. The title track, targeting LL's album "Bigger and Deafer," showcased Mo Dee's sharp lyrical skills:

"I'm bigger and better, forget about Deafer..."
[13:48]

N.W.A. and Internal Conflicts

The early 1990s witnessed intense beef within N.W.A., particularly between Ice Cube and Dr. Dre/Eazy-E over royalty disputes. Ice Cube's "No Vaseline" became a seminal diss track, while Dr. Dre's "Dre Day" retaliated, marking significant moments in gangsta rap's turbulent history.

"Mr. Buster, where you at? Can't scrap a lick..."
[16:49]

VI. Diss Tracks in Pop and Rock

Guns N' Roses and Alanis Morissette

Chris explores how diss tracks transcended hip hop, influencing rock and pop music. Axl Rose of Guns N' Roses released "Get in the Ring," challenging journalists overtly:

"That goes for all you punks in the press..."
[24:48]

In 1995, Alanis Morissette's "You Oughta Know" served as a potent diss against her ex-boyfriend, reportedly Dave Coulier, redefining alternative rock with raw emotional intensity:

"There was a slap in the face how quickly I was replaced..."
[25:33]

Courtney Love and Contemporary Artists

Courtney Love became a central figure in rock beefs, with songs like Foo Fighters' "I'll Stick Around" and Tori Amos' "Professional Widow" rumored to target her. Gwen Stefani's "Hollaback Girl," inspired by a feud with Love, became a massive hit:

"Cause baby now we got bad blood..."
[29:37]

VII. The Rise of Diss Tracks in Mainstream Pop: Taylor Swift

Early Career Disses

Taylor Swift's career is marked by a series of strategic diss tracks addressing ex-boyfriends and rival artists. From "Picture to Burn" in 2006 to "Dear John" in 2010, Swift adeptly leveraged personal feuds to craft relatable and commercially successful music:

"Dear John, I see it all now that you're gone..."
[37:20]

High-Profile Feuds and Chart Success

Swift's confrontations extended to peers like Katy Perry with "Bad Blood," which featured rapper Kendrick Lamar in its remix, blending hip hop swagger with pop sensibilities:

"Hey I can't take it back look where I'm at..."
[41:16]

Swift's ability to transform personal grievances into chart-topping hits exemplifies the integration of diss culture into mainstream pop.

VIII. Kendrick Lamar and the Modern Beef Culture

"Control" and Its Aftermath

Kendrick Lamar's 2013 track "Control" ignited a modern beef culture by challenging contemporaries like Jay-Z, Nas, and Eminem. His aggressive verses set off a wave of responses from various artists:

"ASAP Rocky, Drake, Big Sean... I'm trying to murder you..."
[45:25]

Chart Impact and Recognition

Lamar's later diss track "Not Like Us," produced by DJ Mustard, achieved unprecedented success by topping the Hot 100 and winning multiple Grammys. This track solidified diss records as central to hip hop and pop music discourse:

"I hear you like I'm young you better ever go to Cell Block 1..."
[54:02]

IX. Streaming's Impact on Diss Tracks

Megan Thee Stallion vs. Nicki Minaj

The rise of streaming platforms revolutionized the dissemination and popularity of diss tracks. Megan Thee Stallion's "Kiss" against Nicki Minaj debuted at number one on the Hot 100, demonstrating how dedicated streaming audiences can propel beef records to the top of the charts:

"Don't be mad at Megan, mad at Megan's Law..."
[50:56]

Kendrick Lamar's "Like That"

Following Megan's success, Kendrick Lamar’s "Like That" also topped the Hot 100, benefiting from high streaming numbers and demonstrating the continued relevance of diss tracks in the digital age:

"Done."
[52:18]

X. Conclusion: Diss Tracks in the 2020s

Mainstream Integration and Positive Resolutions

Diss tracks have become a staple in contemporary music across genres. Artists like Miley Cyrus, Ariana Grande, and even Charli XCX engage in lighthearted or serious feuds through their music. Notably, Charli XCX and Lorde collaborated on a remix of "Girl so Confusing," transforming a potential rivalry into a harmonious collaboration:

"Sometimes I think you might hate me..."
[59:29]

Final Reflections

Chris Melanfi concludes by emphasizing the evolution of diss tracks from niche rap battles to integral components of mainstream pop and rock music. He highlights the potential for creative conflicts to lead to collaborative outcomes, suggesting a hopeful future for resolving artistic differences.

"Maybe 50 years after Neil Young heard Leonard Skynyrd's Diss and Shook hands with them, it's still possible for kindness to prevail. That's the best chord to strike."
[57:19]

Key Takeaways

• Historical Evolution: Diss tracks originated in early hip hop as a form of competitive expression and have since permeated various music genres.

• Cultural Impact: Musical feuds have driven significant chart successes and influenced artist relationships, shaping the landscape of contemporary music.

• Digital Transformation: Streaming platforms have amplified the reach and impact of diss tracks, enabling them to achieve mainstream chart dominance.

• Genre Cross-Pollination: The integration of diss culture into pop, rock, and alternative genres highlights the versatile nature of musical rivalry.

Notable Quotes:

• "I'm bigger and better, forget about Deafer..." — Cool Mo Dee on LL Cool J
  [13:48]

• "Cause baby now we got bad blood..." — Gwen Stefani in "Hollaback Girl"
  [29:37]

• "I hear you like I'm young you better ever go to Cell Block 1..." — Kendrick Lamar in "Not Like Us"
  [54:02]

Final Remarks

Chris Melanfi wraps up the episode by acknowledging the transformative journey of diss tracks, celebrating their role in both artist development and the broader musical narrative. He invites listeners to subscribe to Slate Plus for additional content and previews future episodes exploring the intricate dynamics of music history.

Thank you for tuning into Hit Parade. Keep marching on!