The Ataris

Previous. The two are willing to sit down together and eventually settle their differences. Current. Currently Eminem and Benzino continue to feud on albums and despite Eminem's plead to end the beef with The Source (through "Like Toy Soldiers" single off Encore (album)). The Ataris will supposedly be releasing a new album called "Welcome the Night" in summer 2005. As a result of their efforts, BET has banned the video. It generated many successful singles for them, including In This Diary and their cover of Don Henley's The Boys Of Summer. In 2004, Benzino and the Source have also urged video stations to ban Eminem's video, "Just Lose It", as well as have the song removed from his album, because of the video's depiction of Michael Jackson.

That year, they recorded their most well-known album to date, So Long, Astoria. They released it March 4, 2003. The recordings, made in 1988, were the subject of a lawsuit by Eminem. Some months, on June 24 of 2002 after End Is Forever, The Ataris quit Kung Fu Records and signed with Columbia Records. In 2003, the Source released recordings of Eminem which included derrogatory references to African Americans and women. From June to July of 2000, the band recorded End Is Forever, and released it the following February. Benzino has been the subject of journalistic scrunity for using his magazine as a personal promotional platform as well as a tool against his enemies. Almost a year to the day later, in April of 2000, the album Let It Burn was released. Benzino phones in later to threaten fight Eminem if they would happen to cross paths.

Blue Skies, Broken Hearts...Next 12 Exits was released on April 13 of the following year, having been left unreleased until then. He branded Benzino as the “worst rapper in the world”. It was released very soon after, on November 24 of 1998. DJ personality Angie Martinez allowed Eminem to air out his concerns with The Source. In September of that year, they began recording Look Forward to Failure, their third album. He recorded a response to Eminem’s diss by threatening his daughter and dubbing him the “2003 Vanilla Ice” and “Rap Hitler.” Eminem was fed up with The Source; he decides to air it out on radio. A year and a few months later, in June of 1998, they recorded Blue Skies, Broken Hearts...Next 12 Exits. Not to be outdone by Eminem, Benzino throws out the claims of a corporate takeover and started to diss Eminem personally.

They released it on April 29, 1997. Eminem recorded two vicious disses practically destroying the credibility of The Source and the rap career of Benzino. In autumn of the same year, Anywhere But Here, their first LP was recorded. What Benzino didn’t realize, he couldn't match up with Eminem, especially when it comes to freestyles. They signed soon after, on January 15, 1996, to Kung Fu Records. Eminem caught wind of Benzino’s disses and decided to respond. In late 1994, The Ataris formed as a band. In some of his interviews he states that Eminem was a part of the corporate "machine" and it was destroying hip-hop.

The melodic hardcore group The Ataris was formed in 1994. Before Benzino released his album he recorded a diss mixtape devoted to Eminem. For help, see How to Edit a Page and the Style and How-to Directory. Eminem quoted “To do Black music so selfishly, to make his self wealthy” in one of his songs and that was considered the last straw for Benzino. After the article has been cleaned up, you may remove this message. The thing that bugged Benzino the most was the little comment Eminem rhymed on one of his singles off The Eminem Show. This article needs to be cleaned up to conform to a higher standard of article quality. He blames Interscope for Eminem's rise to stardom.

Welcome the Night (summer 2005- Columbia Records). He claims that The MTV Awards allowed Eminem to show up with over 100 blonde clones dressed like him marching on stage. So Long, Astoria (2003 - Columbia Records). Benzino also place the blame on MTV. End Is Forever (2001 - Kung Fu Records). Eminem was upset and he blasted the magazine on his follow-up album The Eminem Show. Let It Burn (2000 - Kung Fu Records, split with Useless ID). The Source gave him two star rating for his album while Benzino's Made Men were rated four and half stars.

Blue Skies, Broken Hearts...Next 12 Exits (1999 - Kung Fu Records). One possible contributing factor for Benzino's concerns was Eminem's rating of his critically acclaimed album The Marshall Mathers LP. Look Forward To Failure (1998 - Fat Wreck Chords). Benzino stated that Eminem can talk about dark moody expressions while Black rappers are forced to talk about bling-bling (materialistic things). Anywhere But Here (1997 - Kung Fu Records). He believes that the corporations are controlling and supporting Eminem. Marco Peņa, lead guitar (1999-2001). Although it not clear why Benzino decided to air out his concerns with Eminem, but he claims that Eminem's success was hurting Blacks and Latino artists.

Patrick Riley, lead guitar (1997-1999). After the fiasco at Motown, he released his sophomore album under Elektra Records. Derrick Plourde, drums (1996-1997). What was left of his album was done into a poor remix album featuring the same artists and a few different beats. Jasin Thomason, bass (1996-1997). This album sold poorly forcing Motown to drop him from their label. Chris Knapp, drums (1997-). Even pop artist Pink was contributing vocals on the album.

Mike Davenport, bass (1997-). His album debut featured many A-list rappers. John Collura, lead guitar (2001-). Benzino was once signed to Motown Records and he was slated to release his album The Benzino Project. Kris Roe, rhythm guitar & vocals. After the RSO/Made Men fiasco, he managed to record his own solo album. Benzino has officially his began his reign at The Source in 2001.

The Source still garnishes the title stories that address the concerns of hip-hop. Often critics blast the magazine for not addressing the issues in the urban communities. Back in 1999, Dave Mays changed the rating of Made Men's album in The Source forcing a Selwyn Hinds, the editor to resign in protest of Benzino's influence. Therefore his role as the "five-mic giver" has been well recognized in the pages of the publication.

The Made Men were nominated for the magazine's annual awards even though their music was rarely seen or heard in the media. Benzino somehow managed to overthrow the original founders of The Source and then took over. The Source offered most of the group's promotion during his time with them. Benzino's impact was known through secretly inserting favorable coverage and advertising featuring him and members of the Made Men. He was considered the muscle of the magazine.

His reinvention of the RSO was meet with his role at The Source. Former editors claimed that Benzino (then known as Ray Dogg) and his associates would frequently visit the magazine, threatening journalists. Benzino went on to record under the guise of the Made Men. After being dropped from the label, his friend David Mays, the founder of The Source slipped a four page article about the RSO in The Source forcing a major walkout of the writers. In 1994 The Boston Police and the Feternal Order of Police union had placed the group on high priority at the time forcing RSO to be dropped from the label.

The single and album was considered controversial for the tone of the rap group using references to envoking murder on local law enforcement. The RSO were known for their anti-police song "One In The Chamba" off the Forever Doomsday album released through Tommy Boy Records. He started his rap career with a group called the Almighty RSO. Although infamous for his run-ins with the police, and his role at The Source, he is most famous for his battle with multi-platinum rapper Eminem.

Benzino is a fledging rapper who rap over 20 years and still hadn't achieved the success of many rappers known. Benzino met Dave Mays while he was a student attending Harvard University. Raised in Boston, he and founder David Mays operated The Source. Raymond Scott) is an American rapper as well as the CEO of The Source.

Benzino (a.k.a.