Verified archive entry

Fuck Wit Dre Day (And Everybody’s Celebratin’)

By Dr. Dre · Targeting Eazy-E, Luke, Tim Dog

Fuck Wit Dre Day (And Everybody’s Celebratin’) is a diss track by Dr. Dre targeting Eazy-E, Tim Dog and Luke. The recording also credits Snoop Dogg and Jewell. Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.

Released1992

Annotated10

ExplicitYes

Addressable transcript

Lyrics & breakdown

Demo lines only. Select a line number to copy a stable deep link.

01
[Intro: Dr. Dre]
02
Hah, yeah
03
Hell yeah
04
Hah, know what I'm sayin'?
05
Yeah
06
[Verse 1: Dr. Dre]
Multi-line diss block
07
Mister Busta, where the fuck you at?
08
Can't scrap a lick, so I know you got your gat
09
Your dick on hard from fuckin' your road dogs
10
The hoods you threw up with, niggas you grew up with
Block noteUses gendered or sexual humiliation
TargetEazy-E
MeaningWhat it means: In “Your dick on hard from fuckin' your road dogs,” Dr. Dre uses gendered or sexual language to question Eazy-E's masculinity or humiliate the target in front of the audience. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. The tactic tries to trigger an emotional reply and damage Eazy-E's public image, even though the framing itself can reproduce homophobic or sexist stereotypes.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
11
Don't even respect your ass
Multi-line diss block
12
That's why it's time for the doctor to check your ass, nigga
13
Used to be my homie, used to be my ace
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Now I wanna slap the taste out your mouth
Block noteChallenges the target's public standing
TargetEazy-E
MeaningWhat it means: In “Don't even respect your ass,” Dr. Dre questions whether Eazy-E's attention, audience, or reputation reflects genuine respect. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. Visibility can be mistaken for victory, so the artist recasts Eazy-E's recognition as temporary, manufactured, or disconnected from credibility.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
15
Make you bow down to the Row
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Fuckin' me, now I'm fuckin' you, lil' ho
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Oh, don't think I forgot, let you slide
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Let me ride, just another homicide
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Yeah, it's me so I'ma talk on
Multi-line diss block
20
Stompin' on the easiest streets that you can walk on
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So strap on your Compton hat, your locs
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And watch your back 'cause you might get smoked, loc
Block noteClaims geographic legitimacy
TargetEazy-E
MeaningWhat it means: In “So strap on your Compton hat, your locs,” Dr. Dre uses place and local affiliation to decide who can credibly represent the scene challenged in the song. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. The feud is presented as larger than two individuals, so the line asks listeners to treat Eazy-E as an outsider or a poor representative of the claimed community.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
23
And pass the bud and stay low-key
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B.G., 'cause you lost all your homie's love
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Now call it what you want to
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You fucked with me, now it's a must that I fuck with you
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[Interlude: Dr. Dre]
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You better raise up
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Yeah, that's what the fuck I'm talkin' about
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We have your motherfuckin' record company surrounded
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Put down the candy and let the little boy go
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You know what I'm sayin'? Punk motherfucker (We want Eazy)
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(We want Eazy, we want Eazy)
34
[Verse 2: Snoop Dogg, Snoop Dogg & Dr. Dre]
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Bow-wow-wow, yippy-yo, yippy-yay
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Doggy Dogg's in the motherfuckin' house
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Bow-wow-wow, yippy-yo, yippy-yay
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Death Row's in the motherfuckin' house
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Bow-wow-wow, yippy-yo, yippy-yay
40
The sounds of a dog brings me to another day
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Play with my bone, would you, Timmy?
42
It seems like you're good for makin' jokes about your jimmy
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Well, here's a jimmy joke about your mama that you might not like
Multi-line diss block
44
I heard she was a 'Frisco dyke
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But fuck your mama, I'm talkin' about you and me
46
Toe to toe, Tim M-U-T
Block noteMakes the feud personal through family
TargetEazy-E
MeaningWhat it means: In “Well, here's a jimmy joke about your mama that you might not like,” Dr. Dre brings a relative or family boundary into the exchange with Eazy-E, moving the dispute beyond music and into private life. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. Family references explain why the conflict feels personal: they raise the emotional cost for Eazy-E and make the line more consequential than a routine comparison of rap skill.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
47
Your bark was loud but your bite wasn't vicious
Multi-line diss block
48
And them rhymes you were kickin' were quite bootylicious
49
You get with Doggy Dogg? "Oh, is he crazy?"
50
With your mama and your daddy hollerin', "Baby"
Block noteMakes the feud personal through family
TargetEazy-E
MeaningWhat it means: In “With your mama and your daddy hollerin', "Baby",” Dr. Dre brings a relative or family boundary into the exchange with Eazy-E, moving the dispute beyond music and into private life. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. Family references explain why the conflict feels personal: they raise the emotional cost for Eazy-E and make the line more consequential than a routine comparison of rap skill.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
51
So won't they let you know
Multi-line diss block
52
That if you fuck with Dre, nigga, you're fuckin' wit Death Row
53
And I ain't even swangin' them thangs
54
I'm hollerin' 187 with my dick in your mouth, biatch
Block noteUses gendered or sexual humiliation
TargetEazy-E
MeaningWhat it means: In “I'm hollerin' 187 with my dick in your mouth, biatch,” Dr. Dre uses gendered or sexual language to question Eazy-E's masculinity or humiliate the target in front of the audience. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. The tactic tries to trigger an emotional reply and damage Eazy-E's public image, even though the framing itself can reproduce homophobic or sexist stereotypes.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
55
[Interlude: RBX]
56
Yeah, nigga, Compton and Long Beach together on this motherfucker
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So you wanna pop that shit, get your motherfuckin' cranium cracked, nigga, step on up
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Now, we ain't no motherfuckin' joke, so remember the name
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Mighty, mighty D-R
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Yeah, motherfucker (The shit done hit the fan)
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[Verse 3: Dr. Dre & Snoop Dogg]
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Now understand this, my nigga Dre can't be touched
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Luke's bending over so Luke's gettin' fucked, buster
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Must've thought I was sleazy
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Or thought I was a mark 'cause I used to hang with Eazy
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Animosity made you speak what you spoke (Yeah)
Multi-line diss block
67
Ayo, Dre (What up?), chip this nigga off, loc
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If it ain't another ho that I gots to fuck with
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Gap teeth in your mouth, so my dick's gots to fit
Block noteTurns the target into a visual punchline
TargetEazy-E
MeaningWhat it means: In “Gap teeth in your mouth, so my dick's gots to fit,” Dr. Dre reduces Eazy-E to an exaggerated physical caricature instead of engaging the target's preferred public image. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. A visual insult is easy for an audience to remember and repeat; the goal is to make ridicule of Eazy-E travel beyond the song itself.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
70
With my nuts on your tonsils
Multi-line diss block
71
While you're on stage rappin' at your wack-ass concert
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And I'ma snatch your ass from the backside
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And show you how Death Row pull off that who-ride
Block noteMakes the confrontation explicit
TargetEazy-E
MeaningWhat it means: In “With my nuts on your tonsils,” Dr. Dre addresses Eazy-E directly and makes the situation described in the quoted line the point of confrontation. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. Naming or plainly addressing Eazy-E removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
74
Now you might not understand me
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'Cause I'ma rob you in Compton and blast you in Miami
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Then we gon' creep to South Central
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On a street knowledge mission as I steps in the temple
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Spot him, got him, as I pulls out my strap
Multi-line diss block
79
Got my chrome to the side of his White Sox hat
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You tryna check my homie, you best check yourself
81
'Cause when you diss Dre you diss yourself, motherfucker (Yeah, nigga)
Block notePressures the target to answer
TargetEazy-E
MeaningWhat it means: In “'Cause when you diss Dre you diss yourself, motherfucker (Yeah, nigga),” Dr. Dre treats Eazy-E's response, delay, or silence as part of the contest rather than a neutral choice. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. By defining silence as concession, the line tries to control the timetable of the feud and force Eazy-E into replying on the artist's terms.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
82
[Outro: Snoop Dogg & Jewell]
83
So I don't want no dilapidated, two-faced, pigeon-toed, bow-legged, cross-eyed son of a gun fuckin' with me
84
Yeah, nine-deuce
85
Dr. Dre droppin' chronic once again
86
It don't stop
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Punishin' punk motherfuckers real quick-like
88
Compton style, nigga
89
Doggy Dogg's in the motherfuckin' house
90
Yeah, Long Beach is in the motherfuckin' house
91
Yeah, yeah, straight up (Death Row is in the house, yeah)
92
Really, though
93
Breaking all them suckas off something real proper-like
94
You know what I'm sayin'?
95
All them sucker-ass niggas can eat a fat dick
Multi-line diss block
96
Yeah, Eazy-E, Eazy-E, Eazy-E can eat a big fat dick
97
Tim Dog can eat a big fat dick
98
Luke can eat a fat dick
Block noteTurns the target into a visual punchline
TargetEazy-E
MeaningWhat it means: In “Yeah, Eazy-E, Eazy-E, Eazy-E can eat a big fat dick,” Dr. Dre reduces Eazy-E to an exaggerated physical caricature instead of engaging the target's preferred public image. Why it was said: Dr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period. A visual insult is easy for an audience to remember and repeat; the goal is to make ridicule of Eazy-E travel beyond the song itself.
ContextDr. Dre and Snoop Dogg attacked former N.W.A. partner Eazy-E and other rivals during the early Death Row Records period.
99
Yeah