Of Hip Hop and beef
Sharon Mathala | Tuesday January 27, 2026 08:31
Locally, the genre that often struggles to command mainstream visibility, however, the beefs have forced hip hop back into public discourse, but attention alone does not equal progress. Many have urged Hip Hop artists to leave the keyboard and make use of the mic and studio sessions. That balance has historically defined hip hop’s most celebrated rivalries. In the United States, battles like Jay-Z versus Nas sharpened lyricism and produced classic records without descending into chaos, characterised by insults. At the same time, the darker side of beef has also been well documented. The East Coast–West Coast feud of the 1990s allegedly ended with the deaths of Tupac Shakur and The Notorious B.I.G., leaving a permanent scar on the genre.
Coming closer to home in South Africa, the Hip-hop scene also has a few examples to cite, such as the Casper Nyovest Vs AKA, which have often played out loudly but productively. Competition translated into chart battles, sold-out shows and brand endorsements. Even when tensions ran high, the focus largely remained on music, performance, and market dominance; beef became a commercial and creative catalyst.
In Botswana, the local industry is still developing, with limited infrastructure, inconsistent support, and a fragile market. In such an environment, beef can easily tip from healthy competition into self-sabotage. When artists spend more time trading insults than releasing music, they risk appearing stagnant, regardless of their skills and talent.
Social media has complicated matters further. Historically, Hip-hop beef was settled on records, on stage or in cyphers. Today, Facebook posts, Instagram stories and comment sections have become the battleground. Most pundits argue that what should be a lyrical warfare often degenerates into personal attacks, rumours, and, in the end, stripping Hip-hop of its artistic value.
Kast, a respected local rapper, argues that beef makes sense in hip hop but is not essential. He says the genre differs from others because of its competitive and almost sporting elements. “Some will feel they are better than the other, and saying stuff openly tends to turn into beef. Because of the dramatic effect, beef naturally brings more attention, but it’s not necessary because we have successful rappers who have never had beef.
As long as they use the studio and the mic for the beef and nothing beyond that, it’s okay,” Kast said. Broadcaster and DJ Mdu Tha Party is unconvinced that the current trend serves the industry. He calls the beef culture backward and divisive, arguing that it chases away opportunities rather than creating them.
“Nobody wants to be involved with people that insult each other all day on Facebook,” he says. He also warns against importing the most destructive aspects of American rap culture into a vastly different context. “In the US, people are killing each other for real. If we import that culture here, things could become physical, possibly even deadly.”
Mdu Tha Part is particularly critical of what he sees as clout-chasing. He believes some rappers are provoking beef not out of genuine rivalry but to ride the wave of attention. “One rapper saw others trending for personal issues and realised the traction they were receiving. Instead of just putting out music, they hopped on the wave with backhanded comments, and it worked,” he says, adding that bad news spreads faster than good music.
Melo, another voice from the scene, returns the conversation to competition rather than conflict. He describes Hip-hop as a proving ground where artists establish dominance through skill. “One of the rites of passage is proving you can freestyle better than others, going through battles and diss tracks,” he says. However, he draws a firm line at personal attacks. “In the US, people have been killed. Locally, people have said things that rub others the wrong way at a personal level. In Botswana, where hip hop is still developing, that kind of beef can be destructive.”
Others insist that beef is not just an accessory, but the backbone of Hip-hop itself. PP wa Pimp, another rapper, is blunt. “Beef is Hip-hop. That is the culture. If there is no beef, that is not Hip-hop. Historically, it has always been like that and will always be like that,” he said.
Veteran rapper Scar links beef directly to egos, core traits of the MC tradition.
In Botswana, he believes the tension has taken on a generational character, with younger rappers dismissing earlier contributions and older artists questioning what the new crop has achieved. The problem, Scar argues, is not rivalry itself but where it plays out. “Instead of putting it on music so they can sell tickets and merchandise, people take it to social media. That’s where it turns into pettiness.”
For his part, former entertainment journalist Dumisane Ncube says beef can be healthy if handled correctly.
“It fuels competition, sharpens lyricism and boosts visibility, staying true to Hip-hop’s battle foundations,” he says. However, he warns that once beef spills into personal conflict or threats, it undermines the culture. He adds that it is unfortunate many artists now prefer online attacks instead of settling scores “on wax” through diss records that demonstrate lyrical supremacy.