Eminem, famous for his unapologetically bold lyrics, has been taking shots at fellow celebrities for decades and Sean ‘Diddy’ Combs has been one of his recurring targets.
With Sean ‘Diddy’ Combs’ arrest, the interest in the lyrical feud with Eminem’s latest album The Death of Slim Shady (Coup de Grâce) has been renewed.
The new album has several songs that refer to Diddy, continuing a long history of controversy that was generated by the outspoken bars to the music executive.

It all began with a tendency to name-drop Diddy early in his career, from an unreleased 1996 track titled “F**king Crazy” or “Any Man.” Playing a lighthearted tune for once, this particular rapper took it out on Eminem himself rapping, “Came in the place blowed and sprayed Puffy with mace.” That was the first of many mentions.

Fast forward to 2000 and Eminem again name-dropped Diddy on The Marshall Mathers LP. On the song “I’m Back,” he rapped, “Sorry, Puff, but I don’t give a f*k,” in a line involving Jennifer Lopez. That same year, the song “Marshall Mathers” itself was harshly written in: “Get off me, go f*k Puffy.” Some of these early shots perfectly captured Slim Shady as the raw, chaotic alter-ego of Eminem and positioned him as an unafraid artist who would not hesitate to criticize anyone—especially major players within the music industry. The tension between Eminem’s lyrics and Diddy’s public image intensified as 2018 welcomed the diss track “Killshot,” which Eminem directed at rapper Machine Gun Kelly.

One of the most inflammatory lines read: “The day Diddy admits / That he put the hit out that got Pac killed.” Here Eminem dropped a bombshell when he insinuated Diddy might have had something to do with the murder of Tupac Shakur. While the line was ultimately redefined as a joke, it set off a firestorm, in part because of conspiracy theories over the murders of Tupac and The Notorious B.I.G. In 2024, Eminem dropped The Death of Slim Shady (Coup de Grâce), the record on which he lost his G’ with Diddy being arrested on assault charges. One killer cut is “Fuel,” with JID, in which he makes a sly reference to Diddy’s legal woes: “I ain’t tryna beef with him ’cause he might put a hit on me like Keefe D, get him.” Keefe D, tied to Tupac’s murder, had recently been busted, so this lyric was particularly well-timed.

Another song, ‘Antichrist,’ continues the provocations as Eminem describes himself as “pitiless, witty, and insidious,” but not without further attacks on Diddy first. This song threatens that those who doubt Eminem’s supremacy in lyrics will be dealt with in a far worse way than Diddy’s troubles with the law.

This sharp mouth is just one example of Eminem still in full command of weaving that which goes on in the world with friends in the music world.
The album also has a special edition of ‘Fuel,’ titled ‘Fuel’ (Shady Edition), that contains contributions by Westside Boogie and GRIP.
This edition digs deeper into hip-hop’s history, referring to the deaths of both Tupac and Biggie.
In a biting verse, Eminem raps, “Notorious B.I.G.’s death was the domino effect of Tupac’s murder. ‘Til he’s in police handcuffs, guilty, will he step up? This line probes the age-old speculation regarding Diddy’s alleged involvement in Biggie’s murder and poses the question of whether ever there could be justice.
Eminem remains peerless at bringing out personal feuds, industry controversies, and cultural commentary to his work. This new album manifests that, even after three decades he’s not getting any older. Dropping it now when Diddy is under fire gets hip-hop all abuzz again about one of its most compelling lyrical rivalries.