Benzino Bags a Punch in New Eminem Diss Track. Review

Let’s take a look at the hottest rhymes and punches off Benzino’s new Eminem diss-track “Rap Elvis”.

Another fiery response to Eminem’s jabs at Benzino in Doomsday Pt.2, the former Source magazine co-owner’s new diss track “Rap Elvis” features calculated and direct punches worthy of a boxing rap veteran.

Rap Elvis” is a potent diss track that combines nostalgia, frustration, and bravado.

In this second part of his saga [who knows, maybe there’s more to come?], Benzino unleashes his full potential and brings back the vibes you get from an actual battle rap scene.

He starts off by comparing Eminem’s image and personality to Elvis Presley, referring to the fact that he likes to be the center of attention and “can’t self-sustain”:

Rock & Roll was a black thing until Elvis came and made it different (Okay)
You can’t self sustain, you too selfish wait and listen

Then he jumps in with a direct jab at Eminem’s penchant for name-dropping. The basketball reference cleverly pits two teams against each other, emphasizing how The Celtics, representing Benzino, are superior to the Pistons, symbolizing Eminem:

You keep saying my name you put yourself in this position
This what happens when the Celtics play the Pistons (Swish)

Benzino calls out Eminem’s recent hiatus and accuses him of opportunistic clout chasing. The reference to Coi Leray, a rising artist, adds an intriguing layer suggesting that Eminem’s relevance hinges on piggybacking off newer talents:

I was minding my business, you wasn’t making any type of noise these days
So a choice was made, clout chase Benzino and Coi Leray

An interesting pun here, when Benzino flips the coin and names Eminem (the man who created Stan) a Stan of himself, as he claims Marshall is annoying him:

You still in your annoying phase (Wow)
Ay, what do you call it when a man stans Stan, thats a stan, help me coin the phrase

Benzino then touches upon another Eminem’s pain point, calling him out for allegedly not showing enough love to his hometown of Detroit. He supports his claims by name-dropping Icewear Vezzo who recently criticized Em on this particular matter [although that beef has been recently squashed]:

You won’t even come outside, you won’t even see your town
Icewear Vezzo said that Em don’t be showin’ the city love
Why you ain’t got no words for him? he in your city bruh
I wonder why, we wanna see. just say something please

Then comes the ultimate blow when Benzino comes with a clever line substituting Misery with Missouri that he puts as an icing on the assumption that Marshall has no connection with Detroit whatsoever:

Couldn’t be possibly that you ain’t really from them streets
I was born and raised in my city, you should’ve come for me
I don’t know where you from, but they say Missouri loves company

Benzino then continues with a braggadocious style, proving his statement that he knows Eminem’s home town probably more than him, further taunting his reclusive lifestyle:

I’m probably more Detroit than you because these real niggas know me
I was with Y.B.I. in ’86, yeah that’s my OG’s
4 corners, Columbia point
My young boys had them OZs on Dexter with the Bon Boys close to me

Then comes Benzino’s Tommy gun blaze of bullets aimed at Eminem’s contrinution to the culture, claiming its non-existent, namely going at the Shady Records stray of failures through the years:

So let’s go down your stable, Gun left your label
Benny left your label, Con left your label, Royce left your label
Joe Budden left your label, Ortiz left your label (Damn)

The Crooked I line serves as a very artistic bridge here, making a clever pun at Eminem’s right eye twitch. A piercing jab that deserves applauding Benzino’s skills as a lyricist:

Joe Budden left your label,
Ortiz left your label (Damn)
No Crooked I couldn’t save you

He continues to rhyme Shady Records artists, also including Yelawolf, Ca$his, Obie Trice, and Stat Quo. Benzino perfectly wraps up his Shady Records rant with the line:

With all them false lines that you pitched them
Shady records sound like less of a name
and more like a description

After that Benzino emphasizes Marshall’s constant absence from the hip-hop scene, implying as a final note that Marshall is too scared to come out and have any kind of altercation in the real world:

Since you so hip hop, you should’ve went to Nipsey’s funeral
If you support 50, then why ain’t you go to Smoke’s funeral
And now you spittin gumballs boy I really throw two at you

Then he backlashes at Marshall’s lines on Doomsday Pt. 2 and narrates that his street status and credibility, and the fact he actually got shot in the past makes him invulnerable to Eminem’s intentions of attacking him:

Talk about “I catch a stray”, you pull it and squeeze
I’ve been shot multiple times, what’s a bullet to me?
Lookin at me, trust my process I am here to crookin’ these streets
You missed a season like you rookie Embiid

The reference to the NBA rookie Embiid who missed a season because of injury, is also a menacing and warning gesture from Benzino. After that, he continues to accuse Eminem of exploiting hip-hop for his own egotistical reasons:

You call our women black bitches then play the victim when there’s distrust
You keep using the art form that we created to diss us
They try to rewrite history make you Elvis of Hip-Hop
But in stores Slim should be on the shelves next to Slipknot

Using Slipknot Benzino accentuates that Eminem with his clownish features and somewhat ‘distasteful’ content does not belong in hip-hop.

Next, Benzino transitions to the topic of battle rap where he finds ways to discredit Eminem as well. The reflection about Drake and the ‘smack dab’ pun creates quite a witty narrative here, as Benzino seasons Eminem with references to his belonging to the pop genre and his past drug addiction:

You say you come from battle rap, but why don’t you support none of these battle cats? (Why)
Drake be at these smack events, where your ass was at?
Room full of hood niggas back to back, and it’s action packed
And a pop rapper smack dab in the middle, imagine that

Benzino flaunts about his physique and ability to kick Eminem’s ass:

Me, you and Royce can box, 2 on 1, you get the same hands
I’m in the trench with Ray Bands, so when I lift them, they land

Another prime-time pun is Lyrical Lemonade reference used as another indicator of Em’s allegedly futile hip-hop character:

I been a made man, you little mangy minute made man
And I’m pissin’ all in your Lyrical Lemonade stand

As a finale, Benzino questions Eminem’s capability to go against strong MC in hiss diss escapades, taunting him for being known to go at pop celebrities and people past their prime:

My nigga Young Zee dissed you, Milkbone dissed you
Last Emperor dissed you, Pacewon dissed you (Okay)
Real lyricists but you ain’t go back at them did you? (Never)
‘Cause you would rather battle pop stars just to get your issue
You like to pick the low hanging fruit lets get this clear
You dissed, Elton John, your mum, your ex, Britney Spears
You dissed Lana Del Ray fam, Moby, Iggy
Not Iguodala, the white broad, is you shittin’ me? (C’mon, man)
Will Smith, Nick Cannon, Insane Clown Posse
A retired Joe Budden, when I tell a lie stop me (Stop me)
Machine Gun Kelly, that boy damn near whipped you (What)
Come on, dawg, how Vanilla Ice gon’ diss you?
If you thought your rap bars was hard you need to grow up (Stop it)
You just plain Eminem, you ain’t got no nuts, huh?

The plain M&Ms line shines well here as a clever jab, implying that even Eminem’s stage name is soft and doesn’t belong in the true battle-rap inspired hip-hop genre. And the reference to the 8 Mile film with the “how Vanilla Ice gon’ diss you?” is almost iconic.

All in all, Benzino went all out on this one. And Eminem has to really bring his game here if he intends to respond. Benzino’s lyrical prowess shines and he takes aim at Eminem’s legacy. Whether this feud will escalate or fizzle out remains to be seen, but for now, the rap world is buzzing with anticipation.

As the dust settles, one thing is certain: “Rap Elvis” has ignited a fiery chapter in the ongoing saga of a white rap God and one black aggravated individual. The battle lines are drawn, and fans await the next move in this lyrical showdown. 🎤🔥🎵

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