Suge Knight Hated Snoop Dogg For Squashing Beef With Biggie & Diddy

Snoop Dogg sat down with for a CRWN interview where he discusses how Suge Knight and Death Row Records turned his back on him when he tried to make peace with Puff Daddy and The Notorious B.I.G.

Snoop’s attempt to make amends was during a time when the Coolaid rapper just had his son and was on his way to being the father of a second child. It was also a time when the East Coast versus West Coast rivalry was heating up, resulting in the deaths of Biggie and Tupac Shakur. “I’m trying to live, y’all niggas trying to die,” the 44-year-old Long Beach rapper says of Death Row‘s scandalous activities that landed Suge Knight behind bars.

“Just to share this with you and y’all, when he was locked up, it was a pivotal moment where I wanted to go see him and I couldn’t see him because they shut the visiting down,” Snoopsays. “But I was able to get on the phone with him and I was like, ‘Cuz, why don’t you let me shake Biggie and Puffy’s hand on TV and end this so we can figure out a way to move forward?’”

According to Snoop, his want to extend an olive branch to Puff and Big was met with a stern “Fuck them bitch ass niggas” from one of Knight’s cohorts.

“Then slowly but surely, they turned on me because they seen I wasn’t with the business, I wasn’t with the bullshit,” he recalls.

Snoop also calls out Suge Knight for being a hypocrite when he got on The Source Awards stage in 1995 and made his infamous speech aimed at Puffy: “To all you artists out there, who don’t wanna be on a record label where the executive producer is all up in the videos, all on the records, dancing, then come to Death Row.”

“I don’t mean to talk about him because I love Suge Knight to death to this day for what he did for me and the opportunity that he gave me,” the Doggfather says. “But there is such a thing as hypocritical. You can’t talk about and then become…The same way he talked about all of them people being in videos and all of that, six months later he was in videos doing the same exact thing. He was on the front of magazines. On the front would be me and Tupac. ‘What are you doing? Why are you up here? It’s not enough room for all three of us.’”


Puff Daddy & Drake Appear To Have Ended Their Beef

The feud between rappers Drake and Puff Daddy appears to have reached its end, thanks to an appearance from an unexpected guest at Drizzy’s “Summer Sixteen” tour stop in Greensboro, North Carolina.

Puff Daddy was front and center at the concert, which took place on Tuesday (August 23).

The Bad Boy Records founder, who will soon hit the road for his own tour, merely observed Drake’s show from the front row.

The feud between Drake and Puff Daddy began where most feuds with Drake begin, with a ghostwritten track. Puff reportedly sent the Toronto rapper a track to ghostwrite for him, and Drake instead used the record to create “0-100/The Catch Up.”

The fallout between the two reached its peak when an alleged club brawl in Miami in 2014 left Drake with a dislocated shoulder.

Drake and Puff’s beef appeared to have fizzled out up until the release of “4 PM In Calabasas.”With lyrics like “Take that, take that no love in they heart so they fake that,” the record is littered with subliminals from Drake, which appear to be aimed at Puff.


50 Cent Didn’t Know How Beef With The Game Started

So apparently, there wasn’t a decade-long beef between 50 Cent and The Game — at least that’s the impression the G-Unit boss gave in an interview with Big Boy on Real 92.3 today (August 25).

50 is asked about hanging out with his rival at Los Angeles’ Ace of Diamonds earlier this month where The Game presented a peace offering.

Now we have 50’s side of what went on that night.

“He came, he kicked it,” he says casually. “I always said I didn’t understand where it came from. He explained it to me.”

Despite past incidents where 50 refused the possibility of befriending The Game again (see his reaction to The Game posing with fellow G-Unit soldier Lloyd Banks), the rap mogul says the beef was never that serious.


Chicago Rapper King Yella Shot While Filming #BlackLivesMatter Music Video

We’ve collectively experienced some pretty audacious social media moments as a Hip Hop community this year and it hasn’t gotten any better, in the wake of Chicago rapper King Yella getting caught up in an onslaught of bullets as he shot what he called “a Black Lives Matter” music video.

King Yella, 26, whose real name is Cemone Lewis, was said to be filming on the 6500 block of Chicago’s South Wentworth Avenue when the incident happened. His unfortunate circumstance comes after a bloody weekend in the Windy City where seven people were killed and 47 — including an 8-year-old girl — were treated for gunshot injuries.

“They tried to take me out this shit, God got me, though,” a recovering King Yella told his social media followers in between swigs of Rémy Martin as he brandished his war wounds on his arm and upper torso.

“I’m shooting a mu’fuckin’ Black Lives Matter video and muthafuckas come and shoot me. It’s cool, you know. I wish you niggas the best of luck you know, whoever you was. But guess what man, the devil be working but he can’t overcome God, you feel me? You bitch ass niggas can’t stop me, you dumb ass niggas. Right out the hospital, this shit just happened, c’mon man. It’s all good man. I ain’t gonna brag or nothing but y’all niggas…hoes! Y’all had me. You could’ve shot me right in my face, you weak ass nigga. Y’all niggas didn’t even hit my bitch, y’all hoe ass, bitch ass niggas.”

The unnamed girlfriend of King Yella also posed for the Snapchat press conference, revealing the bruises on her leg caused from being grazed by the bullets.

Chicago police told DNAinfo that shooting occurred at 6:55 p.m. on Tuesday, August 23, and appeared to be gang-related.

On cue, the Black Disciple-affiliate Twitter account Wavy_Crockett79 reposted Yella’s footage of his video being disrupting and seemingly took credit for the shooting or, at the very least, gloated at his misery.


A pair of King Yella’s more recent mixtapes, 2014’s Yella Corleone and 2013’s Yella Corleno, both feature the Chicago rapper brandishing semi-automatic firearms so his initial attempt to turn over a new leaf obviously came with resistance.