To fully understand the Drake vs Pusha-T beef, you must first fully understand The Clipse vs Lil Wayne—even though it was primarily Pusha-T responsible for carrying the mantle.
This beef basically started shortly after the creation of What Happened to that Boy.
This is Birdman and The Clipse first and only time on a record together. Shortly after this collab, an onslaught of back and forth taunts between Pusha-T and Lil Wayne were initiated. This is all hearsay since Pharrell won’t speak much about it publicly. But rumor has it The Neptunes were not properly paid for this record.
This situation spawns all the way back to 2001, and if you pay attention, you’ll notice Pharrell has never worked with a Cash Money artist after this moment. Lil Wayne falls in love with the skateboarding culture close to this timeframe. We all know Pharrell was one of the quintessential ambassadors responsible for the merging skate culture and hip hop.
Many insiders also adamantly claim there was drama with Lil Wayne and Bape. Rumors state he was repeatedly asked to not wear the brand without the endorsement of Skateboard P and his team. Behind the scenes certain individuals claim he would contact Bape for access to the clothing brand and they’d vehemently deny him. Therefore, the back and forth between Wayne and Pusha-T starts. Bold claims about Weezy being a swagger jacker comes to life.
The Clipse started their own imprint called Re-Up Gang Records. An interesting factoid lies within the fact that they worked closely with Philadelphia rap legend Ab-Liva.
Why is this important?
Ab-Liva is also a member of Figga Gang, formerly known as Major Figgas—a Philly hip hop super group.
The group’s lead man was Gillie The Kid. Yes, the same Gillie the Kid responsible for beefing with Lil Wayne and Cash Money records after boldly claiming he was the secret ghost writer behind Weezy’s super classic and possibly his most lyrical record The Carter. In fact, if you look closely at the Mr. Me Too video, you’ll catch a quick glimpse of Gillie The Kid making a cameo appearance. All parties involved have continually maintained claims that this is not a Lil Wayne diss record.
The streets didn’t feel the same way though so, Mr. Me Too by The Clipse was transformed into a Lil Wayne diss record, even though both Pusha-T and No Malice have denied it. When you listen to the song, it doesn’t really appear to be a diss record at all.
Of course, the media gets involved in this discourse after a while and Weezy is even questioned about Pusha-T during a Complex interview. He responds to the interviewer as if he’s never heard of the man.
The tensions grow to the point where Lil Wayne literally says on wax “F*ck Pusha-T and anybody that loves him” over a diss track aimed at Pusha’s head titled, Ghoulish.
This track was accompanied by a tweet from Lil Wayne which read “Fuk Pusha-T and anybody that Love em.” Pusha’s brother and former group member No Malice responded to Weezy’s Tweets by publicly reaffirming his love for his brother.
In turn, this activity was in response to a controversial track from Pusha-T titled Exodus 23.1, featuring The Dream. Things gets extremely chaotic since Dream had a baby with R&B singer Nivea (who also has a baby with Lil Wayne).
After the release of Exodus 23.1, Wayne appears to have officially taken the situation personal. This is also one of the key entry points for Drake into this beef. Pusha uses this track go at Wayne and Drizzy. Personally, I feel it’s the best diss record to come out of this entire situation.
Prior to the release of Exodus 23.1 Pusha drops a freestyle over Drake’s Dreams Money Can Buy titled, Don’t Fuck With Me. On this record his new focus appears to be Drake instead of solely Lil Wayne.
It’s light work but shots were certainly thrown. Things get shaky from here, but people stake claim in the fact that Drake’s Tuscan Leather, concealed a few shots about Pusha-T—where he basically raps about taking the fade for Weezy, since that’s his boss on this track.
Of course, you know Pusha-T wasn’t going to let it ride, even if the shots were light. In true battle rap fashion, he responded with a freestyle titled, H.G.T.V. Towards the end of the record, he basically takes off on Drake and brings the ghostwriting allegations into the fold.
Drake is a bonafide superstar, but he’s not one to dodge the smoke, so this is where Two Birds, One Stone (my actual second favorite diss track in the entire feud thus far) is born. I thought this song was going to shake things up in Hip Hop, but it didn’t make a large amount of noise. He shoots at Kid Cudi and Pusha-T on this as defends his self once again from verbal disrespect coming towards him from the Good Music camp.
Although it took a minute, we should’ve knew Pusha-T wasn’t going to let this ride. I also want to note prior to this track, he collaborated with Drake’s ghost writer, Quentin Miller via a track organized by former the Kanye West protege’ music producer, Hitboy. Hitboy comes out publicly during an interview to let everyone know the track was not a subliminal aimed at Drake.
Time eclipses itself after all these developments and the last track on Pusha’s seven song—Daytona album is titled, Infrared. Which basically means he’s putting the beam on the gun and taking a head shot this time.
Leaks of the tracks from Pusha’s album release party started to pop up on the internet and it was apparent he was still taking shots at Drake prior to the release of this album.
The album drops, and Drake responds the next day with the Duppy Freestyle and an invoice to Good Music for helping Push sell records during this rodeo. Drake talks about the fact the ghostwriting rumors are getting old when everyone knows he’s personally contributed to writing records directly for Kanye West. He sprays the entire Good Music Camp with this one basically.
He also drops a single named I’m Upset, the same weekend and by Tuesday night there’s a new Pusha-T diss record titled, The Story of Adidon— where the cover for the single is Drake in blackface smiling in a coon like manner.
This is maybe one of the most personal diss records in hip hop history. This entire situation is peculiar given the fact that both are contributors and writers on the new unreleased Kanye West album.
Drake just left the private Wyoming studio Good Music studio sessions. The same place where Pusha-T records Daytona, which has prompted a few insiders to wonder if this is really a beef sparked in the name of selling records and boosting streams via a preconceived marketing plan.
Pusha’s new record is so scathingly personal this theory currently seems a bit farfetched. Recently, Pusha claims he ran into Birdman on an elevator and Baby asked “Whats bracking??”
According to King Push, they exited the elevator without any funk. Pusha also states the photo with Drake in blackface is not photoshopped, and at this moment, Drake has responded with the picture has been taken completely out of context.
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