Diddy finally accepted the challenge of doing a hit-for-hit face-off battle against Jermaine Dupri in Atlanta. Diddy and Jermaine Dupri have finally agreed to do a hit-for-hit face-off battle in Atlanta, although there is no official date yet. Furthermore, the music mogul told Dupri he’s ready to give him a run for his money: “JD […]
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She may be the queen of R&B, but Mary J Blige expressed some concerns about the current state of her kingdom (queendom?) on a spirited discussion with Diddy on IG live in which she claims that pop music killed the R&B genre.
Diddy took to IG live on this week via Hollywood Unlocked after he had asked his followers: “Who killed R&B?” Mary J Blige joined him for a live session (which is archived here) to discuss her thoughts on the genre’s current state and how it got there.
Of R&B being “killed,” she said that “You can’t kill something that’s in our DNA. It’s going to keep transitioning from generation to generation to generation,” noting how many people her age have passed down a love of the genre to their children.
She did however, note that many mainstream radio stations have tried to kill R&B, or at least change the genre to be more in line with mainstream taste.
She first thanked the radio stations around the country that play and support R&B music before explaining that radio stations tend to jump on the bandwagon and play whatever is popular.
She said that the radio stations call it “popular music” when artists like Justin Timberlake and Adele get ahold of it, before explaining that “it [R&B] has been popular music.”
She stated that R&B can’t be killed, explaining that “we have to keep ourselves alive. You can’t kill us because we’re already in the system, in the bloodline, the DNA.”
She cited many popular R&B artists including Chris Brown, Chaka Khan, Etta James, Usher, Sam Cooke, Aretha Franklin, Jazmine Sullivan, and SWV that have not been “killed” and are keeping the genre alive.
She also encouraged R&B fans not to be “sheep” and get angry at the radio stations, but rather be shepherds and promote the genre and request more R&B on mainstream radio.
Mary J Blige’s “Good Morning Gorgeous Tour” starts September 17.
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Fans react to Diddy announcing he will do a promotion tour for his latest single “Gotta Move On.” Diddy has announced a promo tour for his recent single “Gotta Move On” featuring Bryson Tiller on Instagram. The Bad Boy boss announced it while hanging out at the pool on a yacht: “Friends we are starting […]
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The Internet always has jokes about YK Osiris. During a recent trip to The Breakfast Club, Osiris revealed what was the wildest joke or rumor he had heard about himself. It was such a crazy story it led Charlamagne Tha God to look up the rumor while on air.
“What’s that rumor? They say, uh… Nah, I ain’t gon’ say that,” Osiris started and then Envy recalled one that was pretty wild. “They said he was Diddy’s boy toy.”
Osiris revealed the false rumor came after Osiris was seen in Jamaica with the Bad Boy legend, but actually was visiting the location with his woman and Diddy was nowhere to be found.
You can hear the story from Osiris and The Breakfast Club below.
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During an ultimately fatal feud between two coasts back in the mid to late 90s, Death Row Records and Bad Boy Records were the most powerful labels in Hip Hop music. Now, after a week of being in the forefront of Hip Hop gossip, former Bad Boy Ma$e is looking to be the first rapper signed to have signed to both of the monumental imprints.
Ma$e, whose given name is Mason Betha, took to Instagram yesterday(August 3) to announce that he’s in the process of signing a deal with Death Row Records, which is now owned by Snoop Dogg.
“I’m on Crenshaw — just passed Pico, just passed Slauson — and I’m out here to meet with Snoop so I can do another joint venture with Death Row Records,” Ma$e said while riding through L.A. I’ll be officially the first one signed to Bad Boy and Death Row. And we gon’ get the 2Pac thing rekindled. Let’s see where we go with that.”
Ma$e was one of Diddy’s flagship artists for Bad Boy, dropping thre albums on the label; Harlem World, Double Up and Welcome Back before departing in 2012. Their relationship soured soon after and earlier this year, Ma$e dropped a diss track aimed at Diddy called “Oracle 2: The Liberation Of Mason Betha”.
However, before Ma$e decided to make this move, Snoop alluded that he and Diddy were trying to bridge the gap between the two powerhouses. “We can show growth and progression that we can move forward,” he said. “We can take this Bad Boy, Death Row, what it used to be, and make it a collaboration on peace and love. ’Cause that’s who I am. I’m Suge and Puffy.”
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The 20-year feud between semi-retired Harlem World rapper Mase and his former mentor Diddy took an unexpected twist last week when it was revealed that the two men might have more in common than previously imagined by fans. Mase was dubbed “Diddy 2.0” after burgeoning Brooklyn artist Fivio Foreign appeared on the Million Dollaz Worth Of Game podcast and claimed that he’d only received a paltry pittance of $5,000 to sign to Mase’s RichFish imprint early in his career.
Mase, who claimed that Diddy only gave him a $20,000 dollar advance in the ’90s in exchange for signing away his publishing, must have thought that he looked bad in light of passing on the misfortune to another artist. So this week, he went on Million Dollaz Worth Of Game himself to clear the air and explain that the situation wasn’t as bad as Fivio made it out to be. According to Mase, the real amount he offered was actually much larger — about $745,000 larger, in fact.
“I had to put a file together of all the history that was left out,” Mase says in the video above. “At one time I gave him $5,000, but I gave him $750,000.” He elaborates that he structured Fivio’s RichFish deal so that he could remain involved as Fivio negotiated contracts with major labels such as Def Jam and Columbia. Mase then proceeds to show hosts Gillie Da Kid and Wallo267 documents on his phone — even going as far as calling execs at Columbia on the air — that show that he tried to be fair to Fivio and give him 50/50 on all their splits.
Of course, what with Fivio admitting he didn’t know the business well at the time, it’s entirely possible that he misunderstood how things worked (it’s happened before and will likely happen again). It’s also possible that Mase is flimflamming in order to make himself out to be the hero of the narrative. As with any of these situations, the facts are likely somewhere in the middle and the details are being muddled in the retelling. In the end, I think the big takeaway is that the music business needs some serious overhauls to ensure transparency and fairness for artists and the business people who help make them stars.
After a month-long delay, Joey Badass‘ third studio album, 2000, has arrived. While he is known for taking a long hiatus between projects, Joey reminds from the very beginning that he is among the greats, and he’s not going anywhere anytime soon.
On 2000‘s opening track, Joey lets us know that he believes that he, Kendrick Lamar, and J. Cole are currently the best rappers alive.
“F*ck your favorite, I’m the greatest / They never could degrade us and I did it with no major/ I made a lane for [rappers] by going my own way / I paved the way for a lot of these rappers you see today / So act like you know, b*tch, I’ve been had the flow, penetrating souls / Who the best MCs? Kenny, Joey, and Cole / The holy trinity, it’s that nine-fives in affinity / Energy knowing when I’m gone and forever remember me,” he raps over a piano-driven Erick The Architect-produced track.”
Neither Kendrick nor Cole have responded to the track, however, fans have noticed that the line is reminiscent to a line from “Where I’m From,” a cut from Jay-Z’s 1997 album In My Lifetime, Vol. 1, in which Jay raps, “Who’s the best MCs, Biggie, Jay-Z or Nas?”
Check out “The Baddest” above.
2000 is out now via Columbia Records. Stream it here.
Last month, Diddy made his return as an artist with a groovy heartbreak anthem, “Gotta Move On” featuring Bryson Tiller. The single is presumably from an upcoming Diddy album, which will be released on his recently-launched R&B-focused Love Records imprint, which will mark his first solo album since Press Play in 2006 — although he did follow up with a mixtape in 2015 titled Money Making Mitch. Today, Diddy and Tiller released the video for “Gotta Move On,” which features a cameo from comedian Tiffany Haddish and a very Diddy scene of the music mogul losing his cool in a nightclub restroom.
The Teyana Taylor (aka Spike Tey)-directed video opens as so many clips from the genre’s early 2000s heyday did: with a pointless celebrity cameo outside a nightclub the artists are planning to enter. Haddish plays either a bouncer or a promoter who greets Diddy and Bryson’s party as they enter, then is never seen again once they do. Once inside, one woman, in particular, draws Diddy’s attention and from their interactions, she’s meant to be an old flame. His attempts to rekindle their attachment spark an argument instead, sending Diddy to the bathroom to cool off. There, he does the opposite, demolishing the room the way he did his office in 2017 before composing himself and returning to the dance.
You can watch the video for “Gotta Move On” up top.
