Podcast appearances and mentions of Craig Mack

In this part 2 Music related episode, I interview a very special guest, International DJ, D.T.A. Experience "Diamond the Artist". He shares stories of being on tour with Prince, producing Craig Mack's first album, Industry Stories, DJ Stories and More. You'll want to hear what he has to say. With Special Guest: D.T.A. Experience "Diamond the Artist"@dtaexperience Thanks for for listening - B-EZ - Mister Todd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.mistertoddscorner.com/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.tatt-teeshirts.com⁠⁠⁠⁠⁠⁠⁠⁠⁠Connect with Mister Todd on Instagram at: @mistertoddscorner and @storiesandsolutions

In this part 1 Music related episode, I interview a very special guest, International DJ, D.T.A. Experience "Diamond the Artist". He shares stories of being on tour with Prince, producing Craig Mack's first album, Industry Stories, DJ Stories and More. You'll want to hear what he has to say. With Special Guest: D.T.A. Experience "Diamond the Artist"@dtaexperience Thanks for for listening - B-EZ - Mister Todd⁠⁠⁠⁠⁠⁠⁠⁠⁠www.mistertoddscorner.com/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.tatt-teeshirts.com⁠⁠⁠⁠⁠⁠⁠⁠Connect with Mister Todd on Instagram at: @mistertoddscorner and @storiesandsolutions

In aflevering acht van dit seizoen duiken Voszz, Ghost & Noot weer eens in het oeuvre van een producer. Eentje die zo erg gewaardeerd wordt, dat zo'n beetje iedereen zegt dat hij ondergewaardeerd wordt. Volg je ‘m nog?Van tracks waarop Biggie zijn prille genialiteit kon showen of zelfs met zijn latere rivaal Tupac kon shinen, tot aan instrumentals waarop alle ruimte overbleef voor markante stemmen van MC's als Busta Rhymes en Craig Mack.Jawel, in deze episode duiken de heren een uur lang in het werk van Easy Mo Bee.

When keeping it real goes wrong, HIP HOP edition!

  On this new broadcast of A Bowl of Soul, we are celebrating Classic Soul, Hip Hop and New R&B for 2024 and celebrating Hispanic Heritage Month. We have new music from Legendary Pop, Soul and R&B artist Melba Moore and Neo Soul artist, Sophie Bromberg. We celebrate Hip Hop Legends, Craig Mack, Brand Nubian and J Dilla. Celebrating Hispanic Heritage Month with the music of Pete Rodriguez and His Orchestra. All the necessary ingredients to make a "Stew of Soul Music" on A Bowl of Soul. Make sure you support this music by supporting these artists on all digital music platforms. Keep it locked with A Bowl of Soul!!!!!  soulful #hiphop #classicsoul #latinmusic #maxinebrown #jjbarnes #thebabydolls #jimmybohorne #lamontdozier #peterodriguez craigmack #brandnubians #jdilla #maryjblige #melbamoore #melbamoore #sophiebromberg #hispanicheritagemonth Get up to 2 months free podcasting service with our Libsyn code=ABOS. Sign up & bring your  podcast to life! Get on Apple & Spotify, get critical stats & all the support you need to sound your best and grow your show!! Sign up here: https://signup.libsyn.com/?promo_code=ABOS You can listen to the A Bowl of Soul Radio Network on Live365.com giving you 24/7/365 days of Soul Music. Stop on by and listen:  A Bowl of Soul Radio Network on Live365 You can support A Bowl of Soul and Buy Me A Coffee. Just click: Buy A Bowl of Soul A Cup of Coffee Purchase your A Bowl of Soul T-Shirt and other merchandise. Just click: Get Your A Bowl of Soul Merch Follow me: @abowlofsoul on Twitter                   @proftlove on Instagram                   @A Bowl of Soul A Mixed Stew of Soul Music on Facebook Promote your product or service on the podcast and the radio network. You can sponsor A Bowl of Soul by getting your product or service in front of listeners. Email us at: abowlofsoul@gmail.com  Thank you for your Support!!!

Ever wonder what happened to the guy who sang "Flava In Ya Ear"? Craig Mack was the first big star of Bad Boy Records, with a smash hit that dominated the airwaves in 1994. He was on top of the world, but in just a few short years, his career fizzled while his labelmate, the Notorious B.I.G., became a legend. What led to this dramatic fall from grace? Some speculate that Diddy, the head of Bad Boy Records, heavily favored Biggie, pushing Mack to the sidelines. Did Diddy deliberately sabotage Mack's career to focus on the artist he saw as the future of Bad Boy? Was Mack's sound simply not a good fit for the label's direction? This is the story of Craig Mack's meteoric rise and his sudden disappearance, exploring the complex relationship between an artist and a powerful label head, and the difficult questions surrounding Diddy's management style.  Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Trial of Karen Read, The Murder Of Maddie Soto, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, Justice for Harmony Montgomery, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, The Murder Of Sandra Birchmore, and much more! Listen at https://www.truecrimetodaypod.com 

“Love Don't Cost A Thing” - Episode 167 of “That's What I'm Saying!” the podcast, Shaun and Shatara talk Usher's body double, JLo, and bellies and more… 36:29 - On the Woke Minute we talk about the upcoming election, Ultra Processed Foods and forensic art. 55:44 - On the Weekend D*** Report, the sisters offer advice to a wife who isn't attracted to her husband anymore. 1:05:20 - On That's My Jam, Shaun brings us back to 1994 “Flava In Ya Ear” by Craig Mack. Want to be a guest on our show or advertise your business with us? DM us on IG @twispod or email us at thatswhatimsayingpodcast@gmail.com.

In the ninth episode of Born in Trouble, host John X and guests Grant Lancaster and Andrew Johnson delve into various topics ranging from relationship dynamics and societal expectations to the complexities of modern-day political figures. They discuss the unrealistic standards many people have in relationships, sharing personal anecdotes and professional insights about finding true partnership. The conversation also touches on the misuse of labels like 'homophobic' or 'racist', advocating for a deeper understanding beyond superficial judgments. The episode wraps up with a reflective conversation on the legacy of late rapper Craig Mack, cautioning against sensationalizing his life for monetary gain. Tune in for a thought-provoking discussion that challenges conventional wisdom and societal norms. 00:00 Introduction and Host's Mantra 00:38 Meet the Guests 01:19 Diving into Drama 03:06 Relationship Expectations 05:06 The 80% Rule in Relationships 08:00 Realistic Partner Expectations 09:12 Personal Stories and Experiences 14:07 The Reality of High Standards 17:17 Financial Realities and Relationship Dynamics 24:32 The Unicorn Partner Myth 28:55 Parental Influence and Societal Pressures 29:58 Honest Conversations and Real-Life Experiences 31:00 Addressing Misconceptions and Stereotypes 32:36 Switching Gears: Remembering Craig Mack 33:28 Controversies and Rumors Surrounding Craig Mack 44:29 Political Hypocrisy and Social Issues 57:15 Final Thoughts and Reflections

Send us a Text Message.In this episode of Veto's Corner, we kick things off with rapper Joe Budden's decision to revisit his classic hit "Pump It Up" 20 years later. We also dive into the back-and-forth on Twitter between Joe Budden and Yung Miami—was it just funny banter, or did things cross the line?****We then explore a Biggie reference that's resurfaced online and how it ties into Lil' Kim's iconic "Queen Bitch" track from her *Hard Core* album. The conversation shifts to a viral fan's critique of GloRilla's image, debating whether it has become overly sexualized.****Next, we tackle the controversial revelation of Craig Mack's cause of death by hip-hop media and the issues surrounding privacy in the industry. We also discuss the impact of battle rap, with some arguing that drill rap could be detrimental to the culture.****Finally, we end on a high note with the inspiring story of a young boy who was motivated by Lil Durk to turn his life around. All this and more on this week's episode of Veto's Corner!**---Feel free to adjust any parts to better fit your podcast's style!Support the Show.Follow Veto's Corner: Instagram: https://www.instagram.com/vetoscornerpodcast Facebook: https://www.facebook.com/VetosCornerPodcast Tiktok: https://www.tiktok.com/@VetoscornerpodcastYoutube Subscribe: https://www.youtube.com/@vetoscornerpodcast Follow Veto Vangundy: Instagram: https://www.instagram.com/vetovangundy Twitter: https://twitter.com/vetovangundy Follow Kyng Musix: Instagram: https://www.instagram.com/Ky.n.gmusix Disclaimer "Welcome to “Veto's Corner”. Please note that the views and opinions expressed in this podcast are solely those of the hosts and guests, and do not necessarily reflect the views of “Veto's Corner”or its affiliates. Some of the content shared on this podcast may be intended for comedic or entertainment purposes only, and should not be taken as factual information. We encourage our listeners to conduct their own research and form their own opinions on any topics discussed. Thank you for listening!"

Gene Deal On Shocking News That Craig Mack Died From AIDS and Not A Heart Attack.Gene Deal responds to the Rolling Stone article on Craig Mack's life where his wife reveals Craig Mack died of AIDS and refused to get treatment.About HIVKEY POINTSHIV is a virus that attacks the body's immune system.The only way to know if you have HIV is to get tested.There are many ways to prevent HIV, like using PrEP, PEP, condoms and never sharing needles.HIV treatment helps people live long, healthy lives and prevents HIV transmission.

we all thought something different --- Support this podcast: https://podcasters.spotify.com/pod/show/augustus-beauford/support

Rolling Stone Reveals Craig Mack's real cause of death posthumously and music fans are upset.Los Angeles rapper? actor Luce Cannon sits down with Gully Tv to explain his issues with Big U and the truth about Nipsey Hussell and Eric Holder

August 9, 2024 Today we look at the top songs debuting on the Billboard chart this week back in 1984, 1994, 2004, & 2014. Dutch, Jason, & Grace welcome NEW guest, Roxy from 105.7 the X in Peoria. We're discussing 14 songs from this week in music history, including 4 Top 10s and 2 #1's!  We have new songs from Bruce Springsteen, Craig Mack, Britney Spears, Drake, and more. Want to watch the music videos for all the songs? Well here's a convenient playlist that has them all in order of discussion.

In this gripping episode of The Handsome Beatdown, we uncover the unsettling reality that Bad Boy Records might be more akin to Death Row Records' namesake than Death Row Records itself. With the tragic deaths of numerous artists and associates, a mass exodus of staff and talent, and Puffy Combs' mounting legal troubles, the glamorous façade of Bad Boy Records begins to crumble. Join us as we delve into the turbulent history of one of the most iconic labels in hip-hop. From the deaths of The Notorious B.I.G., Craig Mack, and Black Rob to the departures of key figures like Mase and The LOX, and the legal troubles of Shyne and G. Dep, we explore the dark underbelly of Bad Boy Records. Tune in for a deep dive into the stories that rocked the industry and left an indelible mark on hip-hop culture. #BadBoyRecords #DeathRowRecords #PuffyCombs #SeanCombs #PuffDaddy #NotoriousBIG #BiggieSmalls #CraigMack #BlackRob #Mase #TheLOX #Shyne #GDep #HipHopHistory #MusicIndustry #RapCulture #HipHopPodcast #MusicPodcast #HipHop #Rap #EntertainmentNews #MusicIndustryScandals #ArtistExodus #LegalTroubles #MusicLegends #HipHopCulture #TheHandsomeBeatdown #PodcastEpisode #MusicDocumentary Shirts NFTs & Downloads

It's Wimbledon Mens Final today & with England featuring in this evening European Championships, Vision On commemorates the event with a hat-trick of football themed tunes.There's the usual rummage in his musical box of tricks with new music from Kinobe, Thee Marloes and Allysha Joy alongside classics from Craig Mack, Air and Kool & the Gang. Oh and come on people, did anyone order the London Symphony Orchestra, possibly while high?Tune into new broadcasts of Vision On, LIVE, Opposite Sunday from 6 – 8 AM EST / 11 - 1 PM GMT.For more info visit: https://thefaceradio.com/vision-on///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Morphosis 'Beating The Crates' in a Hong Kong Ping Pong Styleeeeee in association with Ghetto Funk. twitch.tv/h0ngk0ngpingp0ng facebook.com/hongkongpingpong https://hongkongpingpong.co.uk instagram.com/hongkongpingpong/ For all booking enquiries please contact: info@hongkongpingpong.co.uk Tracklist: 01 Amerigo Gazaway & Cavendish Archive - Sunny Day 02 AG - Whistle 03 Opiuo & ASHEZ - Underground 04 M.O.P - Ante Up (Nick Thayer VIP) 05 Phyphr, Eliptek - Long Way Out (Eliptek Remix) 06 Craig Mack, Notorious B.I.G., L.L. Cool J, Busta Rhymes, Rampage - Flava In Your Ear (A.Skillz Edit) 07 GRiZ - Knucklepuck (feat. ProbCause) 08 A.Skillz, Kendrick Lamar, Skrillex - Humble 09 Joey Valence & Brae - RN (WBBL Edit) 10 Jstar, Dubmatix - Scenario Remix 11 Gramatik x Teo Collori In Momento Cigano - The Istrian Job 12 SuckaSide - Hearty Party 13 A.Skillz, Run Dmc - My Adidas (A.Skillz Remix) 14 Foreigner - Cold As Ice (A.Skillz & Nick Thayer Bootleg VIP) 15 X-Ray Ted - I Been Good Ft. Fullee Love 16 Queen, Jacknife, Malaa, A.Skillz - We Will Rock You (A.Skillz Revolt Edit) 17 DJ Deviant - The Rhythm 18 A.Skillz, Busta Rhymes, Dillon Francis - I Do New York 19 Omegaman - Gonna Be Alright (All Good Funk Alliance Remix) 20 Altered Tapes x King Most - I Wanna Vivrant Thing (The Maestro Remix) 21 DJ Deviant - Make Em Bounce 22 ATCQ - Scenario (Boombaptist Dubplate) 21 Opiuo & ASHEZ - Bobby Dazzler 22 Nick Thayer - Like Boom (VIP) 23 Woody Braun - Werk It Out 24 WBBL - Schoolyard 25 Mport - Hit The Road Jack w/ Bass Physics 26 Sonale - Oobidoo (Rework) 27 Eminem - Without Me (Mport Edit) 28 A.Skillz, Eve - Tamborine (A.Skillz Edit) 29 Sam Redmore - Home (feat. Dele Sosimi) 30 Eddie Bo, Plump Dj's, A.Skillz - Funk Hits The Fan (A.Skillz Remix) Remaster 31 Ursula 1000 - Get Down With Us Tonight 32 David Bowie, Admski, A.Skillz - Lets Dance (A.Skillz Killer Edit) 33 Ben Jamin - Sweet Lovin 34 The Niceguys - All The Way (Feat. StarrLight & Greg Blackman) 35 A.Skillz, Herbie Hancock - The Bomb (A.Skillz Edit) 36 DJ A-L - Lose Control To The Drummer's Beat 37 The Sponges & Father Funk - All I Hear (is a funky basline) (Extended Mix) 38 Never Dull - Bonkers 39 Rambo Party - Ding Dong Down (TwoGood Remix) 40 A.Skillz, Sugar Babes - Overload (A.Skillz Edit) 41 Roast Beatz - Old School 42 Bear Twists, TwoGood & Jiu-Jitsu-Sue - 212 43 Cheekface - Featured Artist (WBBL Disco Punk Rework) 44 M.O.P - Ante Up (Pj Bridger Refix) 45 Sammy Virji - Daga Da 46 WBBL - Superstar 47 Rebound X - Rhythm N Gash (Pj Bridger iSpy Refix) 48 Sammy Virji/Flowdan - Shella Verse (Explicit) 49 Rico Tubbs & Terry Hooligan - Forever Dancing (Destroyers X Code Breakerz Remix) 50 Bicep - CHROMA 004 ROLA 51 Mungo's Hi Fi x Aziza Jaye x Gardna x Eva Lazarus - Born With It

Another geek-out BONUS episode! This team we are joined by Craig Mack aka Charles Rivers on an epsiode which was broadcast live on the WMFO airwaves a few weeks ago. Boston DJ Mike Newman mans the board and chimes in here and there. On this special bonus episode we rank our all-time favorite live albums... Enjoy! Music The Charms "So Pretty" The Dogmatics "I Love Rock N Roll" The Neighborhoods "Arrogant"(Live) Produced and hosted by Steev Riccardo Engineered at WMFO by Mike Newman

Host John X and guests Garant L and Andrew Johnson cover a spectrum of topics including politics, cultural influences from celebrities like Puff Daddy, experiences of racial discrimination, and sports predictions. How identifying with Presidential candidates is this year's odd phenomenom. Media's prioritization of scandals and misrepresentations of African Americans for ratings. Personal encounters with prejudice, and the importance of critical thinking in political engagement. RIP Craig Mack. 00:00 Opening Banter and Catching Up 00:45 Technical Difficulties and Going Live 01:12 Inside Jokes and Celebrity Gossip 04:20 Discussion on Media and Celebrity Culture 05:33 Election Coverage and Political Commentary 09:34 Reflecting on American Identity and Change 14:18 Diversity, Equity, and Inclusion in America 22:36 Personal Experiences with Stereotyping and Discrimination 25:04 Generational Perspectives and Political Insights 31:57 Decoding Political Allegiances and Celebrity Influence 32:35 Exploring DEI and Political Biases 33:20 The Strategy of Targeting Black Male Voters 34:02 Celebrity Endorsements and Political Opinions 37:13 The Disconnect Between Wealthy Rappers and Average Voters 38:42 Personal Reflections on Black Trump Supporters 39:24 Family History and Political Skepticism 45:42 Basketball Insights and Playoff Predictions 52:44 Craig Mack's Legacy and Personal Anecdotes 56:46 Navigating Personal and Professional Relationships 58:44 Closing Thoughts and Podcast Promotions

BANG! @southernvangard #radio Ep394! Back from a brief hiatus last week, we celebrate DJ JON DOE'S bday in exquisite fashion this week. Tons of WORLD EXCLUSIVES and a TWITCH ONLY set for the ages - there isn't much else to say other you need to in tune in NOW…and YOU WAAAAALCOME!!!!! #SmithsonianGrade #WeAreTheGard #YouWaaaaalcome // southernvangard.com // @southernvangard on all platforms #undergroundhiphop #boombap #DJ #mixshow #interview #podcast #ATL #WORLDWIDE #RIPCOMBATJACK ---------- Recorded live March 10, 2024 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks ---------- Pre-Game Beats - DJ Jon Doe Talk Break Inst - "O.G.W.A." - DJ Jon Doe "Play Amongst The Stars" - Flee Lord & Crisis "Szechuan" - Jay Royale ft. Ja'king The Divine "Down For Ours" - L.I.F.E. Long "The Way I Feel (Th3ory Hazit RMX)" - Artifacts "Gain Knowledge" - Nef ft. Wais P & The Musalini "Place I Rep" - Remy Banks "Oxtails" - Spit Gemz ft. Bub Styles Talk Break Inst. - "Untitled" - DJ Jon Doe "No Hands" - Enoch ft. Guilty Simpson & Fat Ray "Universal Soldier" - JUS-P "Kings of Rock" - Everliven Sound & Slimline Mutha ft. LC & Broadway "Stranger" - Maestro Fresh Wes ft. Saukrates "We Bang" - Blu & Shafiq Husayn ft. MED, Thurz & YaH-Ra "I'm Not Like Them" - Different Breed 860 & Dead Poetz ft. Tone Spliff "Live Life" - Str8 Bangaz ft. Masta Ace, Rasheed Chappell & Junii Talk Break Inst - "No Question" - DJ Jon Doe "Drum Mobb" - Flee Lord & Crisis ft. Conway The Machine "Rappin' A$$ John" - Stik Figa "Fix Your Own Plate" - Blueprint "Vinividivici" - Vada ft. Snotty "Pulled Pork" - Jay Royale ft. Bub Styles & Pro Dillinger "Just Touched Down" - Flee Lord & Crisis "Different Language" - Bernadette Price ft. Terror Van Poo Talk Break Inst - "No Me" - Jon Doe ** TWITCH ONLY SET ** RIP BIG ** "Who's Making Love?" - Lou Donaldson "One More Chance (Hip Hop Mix)" - The Notorious B.I.G. "Real Love (Remix)" - Mary J. Blige ft. The Notorious B.I.G. "I Got a Story to Tell" - The Notorious B.I.G. "Going Back to Cali" - The Notorious B.I.G. "Brooklyns Finest" - Jay-Z ft. The Notorious B.I.G. "Unbelievable" - The Notorious B.I.G. "Kick in the Door" - The Notorious B.I.G. "Ten Crack Commandments" - The Notorious B.I.G. "Rap Phenomenon" - The Notorious B.I.G. "Player's Anthem" - JUNIOR M.A.F.I.A. "Flava In Ya Ear (Remix)" - Craig Mack ft. The Notorious B.I.G., Rampage, LL Cool J & Busta Rhymes "Who Shot Ya?" - The Notorious B.I.G. ft. Faith Evans "Just Playing (Dreams)" - The Notorious B.I.G. "Blues & Pants" - James Brown "The Payback" - James Brown "Funky Drummer" - James Brown "Rebel Without A Pause" - Public Enemy

Get ready for the hottest beats on the 'MOC Mix Party'! Join Metro Beatz as he takes you on a crazy musical journey ofhot R&B, Hip Hop, Afrobeats & throwbacks every Friday! This week Metro Beatz spins music from Jack Harlow, Giggs, Chris Brown, Cleo Sol, Inayah, Craig Mack, Barry Can't Swim and more. This is the ultimate party you don't want to miss! Tune in and turn up the volume every Friday afternoon at 2pm as we unleash the energy of the 'MOC Mix Party' exclusively on mocradio.com. Feel the beats as Metro Beatz creates an electrifying atmosphere that will keep you grooving all day long!

n this episode, 12Kyle discusses the rise and fall of Bad Boy Records, a prominent hip-hop label founded by Puff Daddy (also known as Puff, Puff Daddy, and Diddy). He shares his personal experience with Bad Boy and highlights the label's early success with artists like The Notorious B.I.G. and Craig Mack. However, the tragic death of Biggie Smalls and internal conflicts within the label led to its decline. 12Kyle also addresses the legal issues and controversies surrounding Bad Boy, including allegations against Puff Daddy. The future of the label remains uncertain in light of recent events. Chapters 00:00 - Introduction and Background 1:00 - Puff Daddy and the Birth of Bad Boy Records 3:27 - The Rise of Bad Boy Records 9:07 - The Decline of Bad Boy Records 17:28 - The Fall of Bad Boy Records 26:00 - Legal Issues and Controversies 32:11 - Recent Allegations and Future of Bad Boy Records 36:23 - Conclusion AUDIO https://linktr.ee/12kyle YOUTUBE https://youtu.be/I4qeUb6DUFQ

Interview by MikalaTV   / _mikalatv_   We recently sat down with D.C. artist Kaniyah for an exclusive “Off The Porch” interview! During our conversation she discussed her tough upbringing in D.C., joining a gang when she was younger, learning to know who you want to be in life at a very early age, advice to young women when it comes to boys and being a follower, having to unlearn certain patterns from her upbringing, pursing music during the MySpace era, rapping about her hood when she first started out, music becoming therapeutic for her, making diverse music, getting into the pop/rap genre, her experience on the music scene in D.C., pursing her career in fashion, having a love for multiple career paths outside of music, her viral freestyle to Craig Mack's “Flava In Your Ear”, her grind as she's still emerging, the pressure of being a women in the industry, embracing her authenticity within her music, her strong friendship with Goonew, having a strong mindset to make it out of the D.C., not getting sucked into the environment around her when it came to pursing her music, feeling alienated after leaving her environment, getting the chance to work with Shy Glizzy & Enchanting, feeling empowered as she continues to pursue her career, her recent single “Outside”, dropping more visuals and singles this year, and more!  Learn more about your ad choices. Visit megaphone.fm/adchoices

A great track from the new Quantic album feat Andreya Triana. Soul from Miranda Joan and Moonchild. Hip Hop from Daniel Son, Homeboy Sandman (with a rap about not eating meat), Sonnyjim & Lee Scott and Craig Mack (produced by The 45 King). Quality dancefloor beats from Sandunes on Tru Thoughts. Jazz for the club from Isaiah Collier and Rebecca Vasmant remixing TC & The Groove Family. Drum & Bass from Tokyo Prose and Tyke remixing The Sindecut & Ijeoma. Plus plenty more music treats,

This week on the 'MOC Old Skool Mix Party', Metro Beatz takes you back into the 70s, 80s & 90s with music from Miles Davis, Change, Prince, Masta Ace, Jeru Tha Damaja, Craig Mack, Black Ivory and more!! Listen live every Saturday at 6pm (EST) on mocradio.com

In part two of New Music Seminar MC Battle For World Supremacy, our last episode for season 2, we focus on the years; 1993 and 1994! I recount the stories I heard about 1993 with MF Grimm, Mad Skillz, and the '93 champion, Supernatural. As for '94, I explain how my writing for local Chicago publication The Flypaper, created a lane for me to have some “involvement” and a front-row seat to many of the key happenings at the seminar that year, including getting a chance to interview Bobbito Garcia, The Artifacts, Count Bass D, Hard 2 Obtain, Zev Love X, and Muddbones (Cage and Masai Bey) for an article in The Flypaper, which never came out, and ultimately inspired Caught In The Middle magazine, that I started planning with J-bird only weeks after the seminar. And, I share the memories of being at a showcase that had Indigenous Theory, Keith Murray, Rampage The Last Boy Scout, Notorious B.I.G, Craig Mack, and Original Flavor with Jay-Z. Plus, some insight on the actual MC battle itself, which was won by Judgemental from Chicago, who I was in town with. It's an action-packed episode!! Follow all of Kevin's work here: https://linktr.ee/kevinbeacham21 Follow Stony Island Audio here: https://www.instagram.com/stonyislandpods/?hl=en

We can't tell the story of hip-hop without mentioning Diddy and the record label he started. Bad Boy took off in 1993 after Puff was fired from Uptown Records. He brought TheNotorious B.I.G. with him from Uptown Record, and signed a 50-50 deal with Clive Davis's Arista Records, and it was off to the races.Bad Boy survived the tragic fallout of the East Coast vs. West Coast rivalry, and reached even bigger heights after Biggie's death. Puff began to rise as a solo artist, but did the rest of the artists suffer as a result?Friend of the pod, Zack O'Malley Greenburg, joins me on this episode to cover 30 years of Bad Boy Entertainment. Here's what we hit on:0:35 Sean Combs come-up story5:16 Diddy breaks in with Uptown Records8:22 Starting Bad Boy Records14:11 What sets Diddy apart21:04 How Diddy controlled the narrative23:58 Bad Boy's formula for success 29:00 East Coast vs. West Coast rivalry30:39 Bad Boy's historic 1997-98 run45:42 Bad Boy curse?48:44 Diddy's reputation compared to Cash Money54:50 Best signing? 55:19 Best business move?57:19 Best dark horse move?1:00:19 Missed opportunity?1:08:52 Possibility of biopic?Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Zack O'Malley Greenburg, @zogblogThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Zack Greenburg: Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.[00:00:09] Dan Runcie Outro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:35] Dan Runcie Guest Intro: Today's episode is another case study style breakdown, and this time we chose to dive deep on the one, the only Bad Boy Entertainment when it comes to branding and when it comes to marketing. I don't know if there's another record label that has as identifiable as a sound of vibe as bad Boy, you knew what that vibe was.Puff said it himself, they take hits from the eighties, but do it sound so crazy? And that was the formula, and it worked time and time again. What Puff did was smart, it was a modern approach to how Berry Gordy approached the record business with Motown. But then he put his own spin on it, interning with Andre Harrell at Uptown Records, learning from him and then putting his own spin on it even more, making it relevant for the 90s and truly becoming the icon that was synonymous with shiny suits with that Bad Boy flavor.And so much of the success of one of the best MCs ever, the Notorious BIG, some of the most iconic R&B groups at the time, and singers such as Faith Evans, 112 and many more. And plenty of artists that unfortunately also had plenty of challenges and issues when it came to payment, drama, legal disputes and more.And we dive into all of that. I'm joined again by Zack O'Malley Greenburg. He wrote a book called Three Kings, where he dived deep into Diddy, as well as Dr. Dre and Jay-Z in this book, so he's well-versed and shared a bunch of great stories in this one. So let's dive in, really excited for this one. Hope you enjoy it.[00:02:06] Dan Runcie: We are back to talk about the wondrous world that Sean Combs built himself Bad Boy entertainment and joined by the one and only Zach Greenburg. Welcome back[00:02:15] Zack Greenburg: Oh, thanks for having me, Dan.[00:02:17] Dan Runcie: Bad Boy is so fascinating because Puff is someone who has in many ways been this larger than life character even before people knew him externally as that.And he has really stayed true with that throughout his time in hip hop and even before then. And most people know the origin story starting back in his days at Howard. But I think based on the research you've done, I know you have some backstory with some of the lessons and some of the things he did even before that.So walk us back. Who was puff in the early days before the world? Got to know him.[00:02:52] Zack Greenburg: Yeah, I mean, you know, I think the funny part is that, that puffy was always puffy and, you know, it just took a while for a little while for the world to kind of figure it out. But you know, there are these kind of consistent themes when you go back through his youth and you, kind of get a sense of who he was.And, you know, I remember writing my book Three Kings, you know, Diddy being one of these kings, talking to people who grew up around him. He really was that same guy from the very beginning. So even when he was a kid, you know, he spent his very earliest years in Harlem, but then moved to Mount Vernon, kind of a suburban neighborhood.you know, just north of the city limits. And you know, he had not just one paper route, he had multiple paper routes and on every, you know, every route. He had this philosophy of like, he wasn't just gonna take the paper and fling it into the family's yard. He was gonna get up and he was gonna go, you know, open the screen door and put the paper in between the screen door and the main door so that people didn't have to go up and do so like he was, you know, that dedicated, that hardworking from the very beginning. you know, I think another story I learned from his youth, Puffy was like, there was some, Some debate, you know, some kid had a pool party and, Puffy wasn't invited. there may have been some racism at play, we don't know. But anyway, Puffy's solution was to convince his mom to build a pool in their backyard and then start his own pool parties and, you know, I mean, it's like the most puffy move ever, right? So he just ended up finding, you know, wealthier and wealthier backers to build the proverbial pool as the years went on.[00:04:23] Dan Runcie: That is the perfect story to encapsulate him because I feel like I could imagine other people having white parties. He doesn't get invited to the white party, so he's like, all right, bet I'm gonna go start my own white party. And now it's this annual thing, however many years running.[00:04:37] Zack Greenburg: Exactly. I mean, and you know, you know, as you kind of trace his evolution, you know, in between it was the same thing. So, you know, we all know the Howard Days, he was taking the Amtrak up, sometimes hiding in the bathroom, so they didn't have to pay for the tickets. He didn't have any money but, you know, he would go up back up to New York on the weekends, he would plan these parties.He started to build a name for himself. and it was exactly that, you know, so from the pool parties, in Mount Vernon to the parties that he was throwing, you know, his colleges to the White party, you get that through line of Puffy that, you know, kind of continues all the way through, through the Ciroc era, you know, I think, which really makes this sort of art celebration, ethos, you know, all the more credible, right.[00:05:16] Dan Runcie: Right, and you mentioning him taking Amtrak. Of course, that's him going from DC to New York to go to Uptown Records where he pushes and fights to get his unpaid internship. Working with Andre Harrell, who was on the Ascension himself. He had started that record label in the mid to late eighties. He then sees the rise.He's early on, new Jack Swing has so many of the early folks making that sound there. And then Puff comes in, he sees a opportunity to elevate and position that brand because the whole thing that Uptown was about, they were trying to push Ghetto Fabulous. They wanted to show that there was a opportunity for people who grew up with nothing to feel like they had that release.And Andre Harrell, he since passed away a few years ago, but he spoken about this a few times and you can see how Puff at the time adapted a lot of that. He worked with Jodeci. He was so integral with how he styled them and making sure they had the right jackets. And at the time, Jodeci was very much seen as this alternative to Boys to Men, Boys to Men was a bit more buttoned up.They made music that was G-rated that you could play everywhere. And Jodeci definitely leaned into the sex appeal, which is something that we saw continue play through with. Bad Boy records of Bad Boy Entertainment in the future. He did similar with Mary J. Blige, taking her from just being a R&B singer to giving her more of a hip hop Ben, and doing a bit more of that crossover vibe, which is something that we saw again with Bad Boy too.And as Puff continued to show his influence, things started to clash because the intern then becomes VP of A and R, and that VP in A and R starts to butt heads and really challenge Andre Harrell on a number of things.[00:07:06] Zack Greenburg: Yeah. And, you know, I think, you know, like you said, Puff really had an idea of what Uptown could be that was, you know, a little bit different from Andre. But it really worked, right? It was the idea that it was, it had a little bit more of an edge to it. you know, like Jodeci had a little more edge than boys to men.you know, that every artist that was gonna be out on Bad Boy would have like, you know, would have that level of class, but also would have kind of like, you know, kind of like a street smart edge. And so, right, it was like the Tims and the backwards hat, but, you know, maybe you had like a nice jacket.It was that kind of mix. And it was very much like in line with Puffy himself. and I think, you know, it's a theme that you kind of started to see. as kind of, he moved on, you know, whether it was Bad Boy or Roc or whatever it was, the thing was synonymous with Puffy. Puffy was synonymous with the thing. But as he began to later on build these assets, you know, he could sell the businesses in a way that he couldn't sort of sell his own image and likeness necessarily. So, that started with, Uptown for sure, it was Andre's thing, but it started to feel like it was Puffy's thing.And I think there was some thought that, you know, that there sort of couldn't be two kings in the castle. And Andre eventually pushed him out and, you know, that kind of left it, the Diddy, you know, in his early twenties kind of figuring out like, Hey, you know, what am I gonna do next? How am I gonna really start my own thing here?[00:08:22] Dan Runcie: And I have this quote from Andre. This was from a documentary a few years later. He says, when Puff got fired, he was on payroll and his artists were on payroll. He's still recording his artists, but he was able to find the best deal, so we never fired him to hurt him. But he fired him to basically make him rich.I will say that quote is much nicer than certain things that Andre said immediately after that firing, especially in the 90s. But it was cool to see the two of them find opportunities to continue to work together after that. But I think the key thing from his time in Uptown is that he was able to find and work with art is that eventually he started working with on Bad Boy.That's when he first works and discovers Big. That's when he first works and really begins to hone in on that sound. And then he officially launched Bad Boy in 1991, but it really wasn't until 1993. He starts working with Big, he starts working with Craig Mack and then it all leads up to this deal that he ends up signing with Arista records to officially do this joint venture with Arista.Arista, of course, was run by Clive Owen, legendary music executive, and they do their 50 50 split. And as the story goes, Clive was on the fence. At first he wanted to hear more, but then Puff Plays flavor in your ear. Craig Max first single, and he was like, all right, I need to be part of this, whatever it is.So that was the song that took things off and made it happen.[00:09:50] Zack Greenburg: Yeah, I mean, Clive Davis, of course, you know, legendary, record men, you know, discovered Janice Joplin, Whitney Houston, Puffy, like you could say, he discovered all these people. they were, they were kind of there already, and, I sort of suspect they would've had their success even if it were not for Clive Davis.But, you know, that, we could debate that. But, know, Clive Davis certainly had an eye for talent, one way or the other. So, I mean, I think what's really fascinating too is, you know, you got think where Puffy was at that point in his life before he got that deal. He was shopping Bad Boy around right?To a bunch of different labels and it says so much about him and his whole ethos, the way he approached it, and this was another anecdote that I found in my reporting, by one of the founders of The Fader who happened to work at EMI at the time. He was in the room when Puffy brought the Bad Boy deal, to the folks at e Emmi and, you know, so like, just to refresh, here's Puff early twenties, just been fired.Just had his first kid, I think. And also, you know, he'd been a part of, this charity basketball tournament at City College where a bunch of people got, crushed in a stampede. He was ultimately found, you know, not guilty of any kind of criminal charges or anything, but his name was all over the papers.Like there's a lot of negative press around him. He was kind of, you know, almost radioactive at this point, or at least one might have thought that turned out he wasn't. But, so anyway, he goes into this meeting with e Emmi and, you know, Their big thing was, Vanilla Ice. And he sort of goes into this meeting and he's like, that dude's corny.Like, I have no interest in anything having to do with Vanilla Ice. Let me tell you how to run your business. And, you know, so he proceeds to like, give them this vision. And then at the end of it, I mean, and I'll read the quote cause it's just so good. he says, when you guys get in a room with all them suits and you're gonna decide what you're gonna pay Puff, just when you get to a number that you think is gonna make Puff happy, I love how he was referring to himself the third person, right?He says, get crazy on top of that. And then when you're there, I want whipped cream and a cherry on top. and this is the best part, he goes, I don't even want to think about the money. That shouldn't even be an issue. Don't be coming at me with no n-word money. Goodbye. And like that was vintage puff.Like that was billionaire Puffy. Before he was billionaire, before he even had. Like before we had a company. So, you know, I think there's just such a great lesson in there, which is kind of like, you know, the sort of, if you can pull off the, fake it till you make it, if you can have that kind of swagger. And to be fair, not available to everybody and like, you know, don't try this at home, kind of if you don't have it.But man, if you can pull that off, if you have that kind of confidence in yourself, you can accomplish some pretty incredible things. He didn't even, you know, end up going with EMI but I think he made a similar pitch at Arista and, you know, and that ultimately got him the deal, that created Bad Boy and, you know, that was really the engine for so much of, what he ended up achieving as the years went on.[00:12:46] Dan Runcie: That story is one of the reasons why he has lived on to become meed and in many ways become a bit of a gift himself. Whether you look at the Chappelle Show skit where, Dave Chappelle is making fun of making the band, and he has that whole sketch about, I want you to get me some Cambodian milk from a goat, or whatever it is.And it's something that sounds completely absurd, but one, it sounded like a lot of the shit that he would say in that MTV show make in the band. And it sounds exactly like that quote that you just shared from that story. The difference is he did this, whether it was for pure entertainment on a show like making the band or when there was really things at stake, like he was at this point when there wasn't a deal in place, he was recently fired.But regardless of whether he's up or down, trying to get it still the same guy.[00:13:39] Zack Greenburg: Absolutely. You know, and I think it just kind of goes to the point like, did he creates brands. He is the brand. He imbued the brand with his essence. And then the brand becomes that much more valuable, whether it's a brand that he can sell, you know, for some huge gain, or whether it's a brand that is compensating him, you know, handsomely for his association or in some cases both. That's kind of the formula and, you know, not everybody can pull it off because not everybody has a brand that is that clear.[00:14:11] Dan Runcie: And let's dig into this because I think this is one of the things that does set him apart. Denny used to be a club promoter as well. And this is a persona that we've seen oftentimes in music where the club promoter or the party promoter works their way up to then become the executive. You see it now with Scooter Braun, someone who's a billionaire now, or close to it in his own right.And he was a party promoter in Atlanta. You saw with Desiree Perez who now runs Roc Nation. She was a party and a club promoter before as well. And you've seen it plenty of times before and I think there's a few things there. There's a hustle and a relentlessness that you need to have to make that work.You need to create momentum around some of that isn't there. You need to understand and be tapped into what people want to hear and what people wanna do and how people wanna feel entertained and how they wanna leave from something feeling like, damn, I had a good time. We need to go do that again. And that is a lifestyle and what Puff did was aligned himself by building businesses that allowed him to do that. Some of those businesses worked better than others, but I think that is the key through line there. On the flip side, I do think that some of these operators and business leaders can often struggle with the bigger picture because there's so many more elements to building companies outside of the marketing brand promotion and those things, and I think we can get into some of that here because I think we saw some of those dynamics play out with Bad Boy as well.[00:15:39] Zack Greenburg: Yeah, for sure. And you know, I mean, I think one of the things about Bad Boy is it wasn't like this was the first record label to develop an ethos and kind of build a lifestyle around it. And, almost like, assembly line, right? I mean, Puffy was doing that himself at Uptown before he just took that same idea and, Pufified it even more.But, you know, I would kind of almost liken it to Motown. I mean, if you look at, Berry Gordy's role, I mean, you see Berry Gordy, credited as a producer on so many, of those songs and, you know, he wasn't like the only person in the room, producing right? he was putting together the right songwriters, the right musicians, everybody to be in the same place. And he was tying it all together with this kind of Motown ethos. And when, you know, when you had a Motown record coming out, you knew what it was. And I think that's why people in the old days used to be fan people would be fans of like, specific labels, right? They're like, I like the stuff that this label puts out, you know, I trust them. It's almost like, you know, I don't know, you know, Coachella sells out, even before the artists are announced because you know what you're gonna get if you like Coachella and you just trust that that's what's gonna happen. That's what it was like, Motown, that's what it's like with Bad Boy.So I think Diddy really followed that model that he was going to be the person, you know, sort of putting things together, you know, maybe he was going to, do a guest verse here and there. Maybe he was gonna be more involved in the production of this play of this song or another song. but it was really more in the vision and the ethos of the brand, the Bad Boy brand, what that looked like, what success looked like, you know, the Diddy version of success looked like maybe a little different from the Uptown Andre Herrell version. And, you know, it was like, like a little more swagger, like, you know, like a little more edge to it. And he was really able to kind of like, make that tangible. So, you know, I would keep going back to that as like something that sets him apart, you know, following the footsteps of the likes of Berry Gordy and[00:17:34] Dan Runcie: The Motown example is good because they also were able to maximize the most from the broader roster they had from the hits that they had Berry Gordy, of course, was famous for one artist on his record, has a huge deal. Okay, we're gonna get another artist on that record on that label to then do it again.You saw that with Aint' No Mountain High Enough. Marvin Gaye has his version that goes through the roof. Okay, let's get Diana Ross to do her own version, her own spin on it. That becomes a song in its own right. And you saw, did he do this to some extent with remixes? How one artist had the remix that worked out well.Okay, or one artist had the original song that worked out well, okay, let's get the remix now. Let's get the whole Bad Boy crew on this remix to go do their own verse and do this thing. They did that time and time again, and then in the early two thousands he had that album. We invented the remix, and there's plenty of debate on whether or not they actually did invent the remix, but that remix that they did of Flava in Ya Ear with, Craig Mack, and they had Biggie on that one as well. That is one of the more classic iconic remixes that people do go back to. And I think the other way that they're , similar too is some of the disputes that artists have had about pavements and things like that, which we can get into eventually.But that's always been the model. I think there in many ways, you're right, it's more like Motown than it is like uptown.[00:18:58] Zack Greenburg: for sure. And you know, on the Biggie point, I mean, people forget sometimes, but Biggie was originally signed to Uptown and Puffy had to go and get him back, and I think they were able to negotiate his release or his transfer of his deal from Uptown to Bad Boy for something like half a million dollars, which, you know, turned out to be, a pretty good deal all the way around.So, you know, he knew that sometimes he would have to shell out and, you know, he did from time to time. That certainly didn't stop there from being disputes, as time went on. But, you know, I think one of the other fascinating things is sort of this interplay, you know, he really walked this line, of sort of like, you know, the corner in the corner office, right?you know, the boardroom, and the street, and, he played up this sort of like lineage that he had of the Harlem gangster world like his dad, Melvin was an associate of Frank Lucas from, you know, the subject of American gangster. And you know, like his dad was known in Harlem. I think they called him, pretty Melvin.Like he was very flashy, you know, he always had the best suits and, you know, and all that kind of thing. But, you know, he definitely came from that sort of like grand gangster era. you know, Frank Lucas and Nick Barnes and all those guys. I mean, that was sort of Puffs lineage.And he definitely played up and he certainly played up, you know, sort of different sort of, street edge, you know, when things got heated in the Bad Boy Death Row situation. But at the same time, he never really wanted to go too deep into it.And I talked to somebody who sort of grew up around him, and he called him Jimmy Clean Hands, you know, because he didn't really want to get like, like he used the association. When it was sort of convenient, but also he didn't want to get too deeply associated, with that side of things.So, to me it's, a really fascinating tightrope walk, how he pulled it off. And, if he'd gone further, toward that side of things, I don't think that would've ended well for him. And if he hadn't gone quite as far as he might not have had, you know, a certain credibility or an edge that, you know, that contributed to so much of the success of Bad Boy, especially in those days.[00:21:04] Dan Runcie: And he did it at a time in the 90s when it was easier for hip hop stars to be able to control the narrative and push what they wanna push and not have other things cover or not have other things be uncovered, or all these internet rabbit holes. I could imagine him trying to do this 10, 15 years later, and it could be a situation like Rick Ross where all of a sudden there's photos of you as a correctional officer popping up on the internet and people are like, bro, what the hell's going on here?I thought every day you were hustling. I could have seen something like that happening the same way that Diddy, but by the time that plenty of people have had those debates about, oh, well, you know, Diddy was actually a kid that grew up in the suburbs and went to college and X, Y, Z, and there's plenty of ways that you could flip that story, but by the time that even became a discussion point, at least in circles where I heard him growing up, he was already an established star.So there was really nothing else that you could do at that point.[00:21:58] Zack Greenburg: yeah. And I guess he could walk that line because he really did kind of embody both, right? Like he was the son of a, you know, a Harlem gangster. he was born in Harlem. His dad was killed, you know, on I think Central Park West and 108th Street or something, you know, in a dispute a case of I think mistaken identity.I mean, so there were real, you know, tough things that, he was born into. And at the same time, he was also, you know, like the college dropout. Like you know, he went to school, he did his thing like, you know, you could say he was like a proto backpack rapper in some ways, like if you wanted to spin it that way.And he kind of embodied both of these worlds, but I think that really, if he hadn't actually lived both those lives, it would've been harder to sort of embody them simultaneously as he did.[00:22:47] Dan Runcie: And even in him, in his own right, there were many incidents that he had that people felt could have supported this narrative that he wanted to, for better or worse, whether it was the 1990 Club nightclub, the 1999 nightclub shooting after the Nas Hate Me Now Music video, him and his team going into Steve Stout's office and then, you know, assaulting him.And then everything that came up after that, or even as recently as within the past 10 years, the incident at UCLA with the coach yelling at his son. There's been plenty of things that have came up that show, you know, that the relentless, the temperament that could often work against his advantage as well.[00:23:26] Zack Greenburg: Yeah. I mean, you know, didn't he bash Steve Stout over the head with a champagne bottle or something? I mean, you know, but what's that line? We back friends like Puffy and Steve Stout, you know, like it, 50 cent had that line. I think he has a remarkable ability to, you know, to end up being sort of friendly with, people who he had these disputes with in the past.So, you know, whether, Steve Stout or, Shine or whoever, like, he finds, various ways to, sort of bridge divides in the end. I don't know how it turned out with the coach from, was it UCLA, or USC. But I suspect that's fine too. but yeah, he does find a way of patching things up.[00:23:59] Dan Runcie: No, he definitely has and we could talk a little bit more about some of the disputes that came with some of the artists, but I do wanna talk a bit about the business of Bad Boy itself and how it went about things. And one of the things that we saw from successful record labels, of course, Zach and I have done past conversations on Cash money, and Roc-A-Fella, and they'll always find innovative ways to work within their constraints or find ways to make things work even when you don't have all of the resources in the world.And one of the things that Bad Boy did was they really leaned into sampling and sampling hits from the eighties and making them the most successful things they could be. What's that line from that May song Making, taking hits from the eighties make 'em soundso Make it sound so crazy. Yeah.so they have their in-house production as well with hit men who then do most of the production, and they give you that Bad Boy sound that you can identify when you hear it immediately on a song, whether it's a total song or it's a one 12 song.And they were able to do that and that formula worked so well because you had this generation that grew up listening to those songs because their parents heard all those songs as well. These are black music classics and then they were able to repurpose them and because of the time and things weren't quite as oversaturated, it sounded quite authentic in a way where I think even some samples now can feel almost a bit forced because you can be like, okay, they're really trying to work that artist.And who knows? I might be also looking at this now, someone in my thirties as opposed to in the 90s, looking at it as someone that's growing up experiencing this. But still, I do think that there was a bit of like a authenticity and a vibe that they were able to create with each of those sample tracks.And plenty people tried to do it. Of course they didn't invent it. I know that Death Row and NWA, Dr. Dre had done it successfully before Diddy, but Diddy and Bad Boy were definitely able to put their own unique spin on making that as effective as it was.[00:25:57] Zack Greenburg: Yeah, definitely. I think, you know, I mean, I think to your point, but it, like it really opened up this sort of aspect of mainstream hip hop when, you know, maybe there were some radio stations that weren't gonna play some of these songs, but, you know, like a puffy song or a biggie song ordinarily, but, you know, if you have like, Oh, that's David Bowie in the background.Like I'm familiar with this. then, you might be sort of like more inclined to put it on the radio if you were a certain kind of dj, which then might reach a certain kind of listener who didn't, you know, ordinarily listen in hip hop and, you know, and you kind of have this, kind of snowball effect.you know, sure.[00:26:32] Dan Runcie: And then from a personal perspective, I'll be the first to admit the amount of songs that I had heard the first time as Bad Boy Version. And then growing up, you then later hear the original one that they sampled from the eighties or seventies, whatever Disco tracker, soul Tracker was, and you're like, oh, that's what that song was from.It's happened endless times and it continues to still happen.[00:26:54] Zack Greenburg: Yeah. I must confess, I heard I'll be missing you before, I heard I'll be watching you, so, yeah, yeah, yeah, yeah. you know, so yeah, and I think a lot of that narrative around the sort of peak Bad Boy sampling era, you know, I think it gets unfairly criticized as sort of being uncreative and like, you know, essentially just being cover and, not adding much to it.But, I disagree entirely, and I think that in addition to creating a different song with a different vibe and everything, you know, th those songs did introduce a whole generation of people, to eighties music that, you know, they may not have been alive to have heard, you know, from, you know, let's say I was born 85, some of these songs came out before I was born.So, yeah, I think that does get missed sometimes.[00:27:35] Dan Runcie: Yeah, and I'm in the same boat. I knew Juicy before. I knew the original Juicy Fruit. I knew Mase Bad Boy before I knew Hollywood Swinging, and I could go on and on with all the songs that they were able to help in introduce and connect the dots there. Another thing that I think Bad Boy did at this time that was a continuation of Uptown was how intentional and borderline maniacal Puff was about continuing that image.So, they had the Can't Stop Boat Stop documentary that came out a couple years ago. And the artist from one 12, which was the main male R&B group that Puff had signed to the record label at the time, they said that they were styled, dressed and personified to be an image of Puff themselves, to essentially be Puff as R&B singers, which was really interesting.And then on the more controversial side, which I don't think would ever fly in the same way today, Faith Evans, who was married to Biggie at the time, she was sent by Puff to go to tanning salons cuz she a light-skinned black woman. They sent her to tanning salons so that her skin can be darker because he wanted to be able to sell her as a certain image that would never fly again the same way today.But that's how Puff was. He was so maniacal, even things down to the nail color and things like that for women. He wanted to make sure that people looked a certain way.[00:29:01] Zack Greenburg: Yeah, and I think what's, you know, especially interesting when you, kind of zoom back on the 90s and that, that era of Bad Boys, you know, given the level of control he had over, you know, that level of detail, you know, the whole east coast, west coast thing, the whole Bad Boy Death Row thing obviously got way out of control.and, you know, culminating in, the desert of big and pop and you know, obviously we don't know exactly who was behind each of those things, but it's, you know, still kind of debate to this day. But, the fact is that, you know, got kind of wrapped up in this kind of, know, sort of thing, like the fact that Puffy could bring Bad Boy back from that, and kind of like continue to have the same brand, you know, after everything that went down, you know, I think is another testament to like the identity of the brand, right? I mean, you know, cuz I remember in that period of time hip hop was really under fire from, you know, so, you know, like the Tipper Gores of the world and the parental advisories and all that, and there was this narrative of like, oh, this music is dangerous.And there was a whole period of time, you know, after everything that went down, in the mid to late 90s, like there were questions like, is hip hop? You know, really a viable commercial genre? Are brands really gonna want to be attached to this? you know, because of the violence that happened, you know, really publicly there.And I think, you know, whether you love him or hate him, like, I think he deserves some credit for pulling things back from the brink. you know, regardless of whatever role he played in getting them, to the brink, but he really did kind of pull things back from the brink and show that hip hop could be this, you know, commercial force.you know, that would be like a mainstream success sort of thing. And really pretty quickly, after all this went down,[00:30:39] Dan Runcie: If you go back to winter 96, the height of this beef, you have that infamous vibe cover with Tupac, Dr. Dre Snoop, and Suge Knight. They're there, the Beef and Bad Boy and, Biggie as well. Were on respective vibe covers as well. If you asked people, okay, five, 10 years from now, which of these two record labels will be in the stronger position, you probably would've put your money on Death Row.To be frank, they had the better artists just from like a roster perspective. With those four, the leadership seemed in many ways quite as strong and there were similarities there as well. You had these two relentless, large and life figures. Granted, Suge and Puff are very different in a lot of ways, but that's where you would've taken things.But then two years later, it's a completely different story. Death Row is imploding and bad Boy had the biggest year that any record label has ever had. If you look back at that 1997 to 1998 stretch, and this is after the death of the biggest rapper as well, they end up releasing Biggie's second album, Life After Death, ironically, 16 days after he passed away.And then Puff himself becomes this larger than life icon. He releases his own album, Puffy, P uff Daddy, the Family, No Way Out. And they continue to go on this run. And in many ways, as other heads and other figures in hip hop have faded and necessarily taken their own path, he continued to stay on that.It really is a remarkable journey when you look at each of those steps in it, because I probably would've put my money on Death Row if I didn't know better.[00:32:21] Zack Greenburg: Yeah, Yeah, I mean, it sure felt that way, right? I mean, but if you kinda, if you compare the leadership, if you compare Puffy to Suge, you know, I think that so much of, you know, the back and forth between Bad Boy and Death Row, you know, it was a case of like, these guys were playing a role, right?I mean, they were, it is funny in some of my reporting, people say like, both Puffy and Suge, especially Suge, were sort of, it was like they were acting in their own bad gangster movie. And I think the main difference was, you know, Suge really came to believe it and live it in a way, that Diddy, didn't quite do it you know, as we were saying before, Diddy kind of walked that line.but Suge just kind of got deeper and deeper into it, and that was kind of who he was, you know, all the time. So, you know, that there's not really like, kind of like a way to, back out, you know, to kind of come up for air when you, when you've kind of like gotten that deep into it like Suge did. I think that was the main difference, you know? I mean, I think he became just completely, you know, is like possessed by this image that he created for himself. And he started to live it, you know, all the time and Diddy's ability to sort of walk the line and step back, you know, I think that's what ultimately kept Bad Boy in the position that, you know, that stayed and kept him in the position that he continued to be in.in[00:33:42] Dan Runcie: And everything that went down to that 1995 Source Awards is a perfect example about how they dealt with this whole thing. Suge and Death Row, famously win Best soundtrack for Above the Rim. He goes up, accepts the award, and he makes the infamous line. If you wanna sign with the label, you don't wanna have your executive producer all on the record, all on the video dancing come to Death Row, and then you see.Puff is there just looking, not saying anything, but everyone knows who he's talking about. But then later on the night Puff goes and is on the mic, he doesn't go necessarily take a shot back at Suge, but he just makes some type of more global statement, Hey, we're all in this together. I forget Puff's exact quote, but that's a perfect example of this, right?Of knowing that line cuz as we know, puff had a temper. Puff wasn't afraid to throw down in the moments, right? But he knew that in that stage, in that setting, especially even on his home turf, this was all the West Coast guys coming there because, you know, there was that famous scene of Snoop Dogg standing up being like, East Coast ain't got no love for Dr. Dre and Snoop.That's my horrible Snoop dog voice there. But Puff was cool, calm, collected during all of that, and as you put it, the difference behind the difference between the two of them is more than puff deciding to be all the video and should not be in, the video. The same way it was everything that you explained it more.And that is one of the biggest reasons, I think for that difference. And what helped Bad Boys essentially be even stronger, unfortunately. So after Big's death,[00:35:21] Zack Greenburg: yeah, totally. And you know, I think with Puff, he ultimately. He had that calm, cool, collected side to him that came out, you know, I think at, helpful points, but he was ultimately about, you know, protecting the bag, right? Like Diddy is a business, he is the business. And he, knows that he has to kind of keep that in mind.And I think, you know, Suge on the other hand just kind of like got too deep in his own narrative and couldn't kind of like poke his head up over the clouds and see the view from, you know, 35,000 feet or whatever. So, I think Diddy's business sense, you know, I think ultimately helped keep him, keep him, you know, just above the fray.So, still super remarkable when you look at it. He threw that first white party in 1998. That was really, that was what, like a year, a year after Biggie was killed. And, you know, just to give you an idea of the kind of stuff that was going down. I mean, he bought this house in East Hampton, and he decided that he was gonna throw the most exclusive party people just to give the background.I did some reporting on this too, but like, it apparently if you got invited to the white party and Puffy's White party, you could not get in If you wore like a cream suit, they'd throw you out. If you had, like a blue stripe on your white shirt, they would throw you out.So you had like grown men running home to get like an all white proper shirt to go to these parties. And you know, like pretty quickly you had Martha Stewart and Howard Stern and Donna Koran and like, Donald Trump used to go to these parties, you know, with his daughter everything. So, it was kind of like a who's who of like a certain type of celebrity in the late 90s.And to go from, you know, from the depths of the East coast, West coast thing to that, in like a year. I think it just shows how Puffy's able to kind of flip things around and that's what he was able to do with Bad Boy. He pivoted the whole narrative and suddenly it was about Puff Daddy, the family.It was about, you know, Godzilla soundtrack and, you know, doing the thing with an orchestra and Jimmy Page and whatever. And, you know, singing, he's able to like recreate himself and also these brands like Bad Boy that's created in his image. you know, like in a remarkably quick timeframe, I think.[00:37:38] Dan Runcie: And to share some numbers on this era. This is peak Bad Boy. I would say this whole 97 to 1999 stretch. 1999, they sold 130 million worth of records. And for some context there, that was more than Madonna's Maverick label had that year. And this was, or Madonna, during that whole Ray of Light era, if I'm remembering the timeline, and Beautiful Stranger, if I remember the timeline correctly and more than Def Jam had at its peak that year, and this was, we did the Def Jam pod recently.This was around the same time that Lyor was trying to get X and Jay-Z to release those albums in the same year, and Bad Boy was still doing its thing then they're Puff Daddy and the Family Tour. They went on their own arena tour, they made 15 million that year, and Puff was starting to extend himself in the same way that we saw other moguls do the same.We talked in the Roc-A-Fella episode about, this was the time that Dame Dash had started to have different partnerships in film and district and sports and things like that. We saw Master P as well in the late 90s get his hand involved with a number of things. And one of the things that stuck out from this era is that Sean, is that, did he actually made a partnership with Johnny Cochran at the time, who was his attorney during all of the drama that he had in the late 90s after that nightclub shooting. And they started a management business that was gonna be focused on NBA players. And this just gives you an idea of all of the things that he was interested at the time.So it really is remarkable. And a lot of it came because Diddy himself was putting himself out there. He became the brand, it was him putting it on, and he really became the most successful artist on this label. But around this time, if you start talking to some of the other artists on the label, they start to get a bit frustrated because they feel it's no longer about their development.It is now about Puff building and doing everything for himself.[00:39:36] Zack Greenburg: Yeah, and I think that's when you know, he really starts to have all these brand extensions and, you know, you can see there's actually, I think the first Forbes cover on a hip hop artist was Puffy in 1999. And, it was a celebrity issue. And they had, Puffy and Jerry Seinfeld on the cover together, which always cracks me up.But, you know, Seinfeld's wearing this suit and Puffy's got this like Sean John denim t-shirt on. you know, just like a walking advertisement on the front of this magazine, which is just brilliant. And, you know, so he is got that going. He's like opening restaurants, you know, and like really kind of like realizing that, he could be not only the sort of the straw that stirs the drink and like the producer and whoever behind the scenes, but also the, you know, the main artist.And you know, I can imagine that being another artist on Bad Boy at this point, could start to get a little frustrating.[00:40:28] Dan Runcie: Right. And I think he had a quote around the time he wanted to be David Geffen. He wanted to be bigger than David Geffen. And of course this was Pete Geffen making moves with Dreamworks and everything else. Still being, in many ways, music's prominent mogul. That was due his thing there. And this was around the same time that we have another quote from, Andre Harrell.And I remember if you mentioned earlier, or if I mentioned earlier, there were some other quotes at the time that were less favorable than Diddy, than the ones that Harrell ended up having later. This was one of them. He said, and this was in a New York Times 1999 interview. He, Puff, gotta separate the young man thing from the business thing.If there's an incident where the situation is going in a way that he feels slighted or disrespected, the only way for him to handle it is as if he was a 45 year old IBM, CEO, which is a very interesting way. But he's essentially saying, Hey, you gotta change your act based on where you're going and where things are.And this is, that trending the line that we're talking about that I think that Diddy was eventually able to get to. But there was still some question marks about that and the trajectory in 1999. But to some extent, I think that kind of played to as factor. There was something about, especially some of those celebrities you mentioned, these are some more buttoned up, you know, white celebrities that never really did much on a, anything that was risky.So someone that has the image of Puff at that time, it's like, Ooh, I'm doing this risky thing. It's almost like the person in high school that wants to date the Bad Boy literally called his label bad voice. So they're leading into that whole persona, and I think it worked a bit to his advantage there as well.[00:42:07] Zack Greenburg: Yeah, totally. And you know, another thing people talk about, you know, I think that this time, and a lot of times I think there's a lot of jealousy going around and, you know, Puffy does this, puffy does that. But, know, one of the things that I, that I've always heard is that, Like, yeah, he's the last one at the club and you know, he's always out and, doing whatever, but he's also the, first one in, like, he outworks everybody and you know, he's somehow manages on, you know, like a couple hours of sleep at night or something.I mean, this is another thing you sometimes hear about fantastically successful people. I hear about this, about like Richard Branson and other people too, that they just can operate on four hours of sleep or something like that. And man, you know, I mean, if you think about it, if you have that much confidence and you're that brilliant, and then also you get an extra four hours a day, you know, you get another, was it, 28 hours a week, you get like an extra day every week basically to just like do shit.that's pretty hard to, contend with. I mean, like an extra day, like two extra waking days, to get things done. I mean, that, that's a pretty big advantage.[00:43:13] Dan Runcie: That was a whole 90s mentality from, overall, from people that were successful. Now that I'm thinking about it, cuz of course Richard Branson, that the 90s was a transformational decade for him. You are Bill Clinton, especially when he was president, talk about getting four or five hours of sleep at night, still being able to operate and do his thing.Even folks like Madeline Albright, who worked for him and in his cabinet were doing the same thing. And even someone like Kobe Bryant, there's that memorable. A piece of the Redeem Team documentary that came out on Netflix last year, where the younger guys at the time, LeBron, Bosh, Wade, were all going out to the club.Were all gonna go out for the night because that Olympics was in Beijing and they're coming back from the club and Kobe's on his way to the gym in the morning. And then Kobe spoke about this himself as well. He is like, no, I'm gonna do another practice to wake up earlier than everyone else. So you think about how this compounds over time, and that's what you're saying about how that essentially gives you two, three extra days a week.You do that time and time again, and just how much better you get. Granted the fact that those people can still do that while not requiring that much sleep. I know. I mean, I couldn't do that myself. I need those hours of sleep, but I commend those people that can.[00:44:25] Zack Greenburg: Yeah. I mean, and who knows, you know, from a health perspective, how it affects you, you know, sort of like later in life and whatever. And, you know, do you lose more years of your life on the tail end because you didn't sleep more earlier? I mean, I guess we'll never really know, and it's hard to kind of pull out the factors and really test that. But in any case, you know, it does give a decided advantage, at least in the, present tense. And, he really kind of like worked with that. but you know, I mean, and then just when you thought that he was kind of out of the woods, with the specter of violence, you know, again, 1999, there's the whole thing in the club, a gun goes off, you know, there's this whole like, situation, Diddy and Shine are in the club. There's this dispute, whatever, and you know, who knows what really happened, but at the end of it, Shine went off to go to jail. And, you know, and Diddy ended up, you know, without really any kind of anything other than like, a little bit of reputational hit.So, I think that, you know, he continued to walk that line, right? And there were just these instances kept popping up. But once again, he always managed to sort of, you know, avoid any really serious repercussions and then, you know, go on to some even bigger and better commercial thing, shortly thereafter, you know, which he did eventually with Ciroc and, what have you.But, you know, it didn't really seem to hurt anything with Bad Boy. Although I think around that time, you know, his career as a solo artist started faltering a little bit to be sure[00:45:42] Dan Runcie: And I think this is a good time to talk about the proverbial Bad Boy curse that's been discussed. There are a number of artists that have had their issues with Bad Boys, specifically with Diddy in terms of whether they feel like they were fairly compensated for things. And it's artists like Faith Evans 112, Mark Curry, and the Locks as well as most recently as a couple years ago, Mase famously people that have publicly claimed to try to get what's theirs called out Diddy for not doing certain things.And then on the flip side, you have people that surrounded themselves with Diddy, and Diddy was the one that came out, scott free, and they were the ones that ended up in challenges and some of that Diddy benefited from by associating himself with them, but they didn't necessarily work outta that same way.You of course mentioned Shine, who, his career never really took off after he had that brief moment where that Bad Boy song came out. I think that was in 2000. They had sampled that, the Barrington Levee reggae song and then had him on that. But you had a few instances like that. I look back on one of my favorite songs from The Bad Boy era.let's Get It with G. Dep and Black Rob. And the sad part about that song is that you have G. Dep, the first person that was. Or essentially his lead single, he's saying that he's saying, or he did special delivery as well. G. Dep eventually ended up being locked up for a murder that he had done in the 90s, but then it had some run-ins after that Black Rob unfortunately passed away a few years ago, and I don't think was ever really able to capture that momentum after Whoa. And a few of the other songs he had with Bad Boy had come out. And then of course you had Diddy who, you know, is still thriving doing his thing.And I think that's true as well. You look at an artist like Lone who l kind of had his moment where they were trying to make lone really be a thing, especially with the, I need a girl, part one and part two, but then Loon as well, ends up getting locked up. I think there was a heroin charge or something like that.So all of these folks that were around Diddy in some way ended up having their challenges. Not all of them, but some of them.[00:47:50] Zack Greenburg: For sure. And I think, you know, probably around this time, you know, the sort of like the turn of the millennium was, you know, the moment, when did he kind of realize that he had to, he did have to start figuring out his next step. And if it wasn't gonna be him, as an artist, you know, and it wasn't gonna be somebody else on his roster, it was gonna have to be something else. And so I think this is sort of like when you think about the Bad Boy era, you know, I don't know, I think about it as sort of like early 90s to late to, you know, to really the end of the decade. And although, you know, of course it went on and it continues to stay at different, you know, sort of capacities.It's like that was sort of the prime era. And, I think once the fortunes of the label became too closely intertwined with Diddy's as a solo artist, then when he stopped being such a big deal as a solo artist, the prospects of the of Bad Boy itself were a little bit more limited.[00:48:45] Dan Runcie: Agreed. Question for you. Do you think that, well, lemme take a step back. In the Cash Money episode that we talked about not just the disputes people have had with Birdman and Slim over the years, over disputes, but also the notorious reputation that they've built up. Do you feel like the reputation with Puff is similar in that way?And if it's different, why do you think so?[00:49:09] Zack Greenburg: So you mean Puff like the Cash Money sort of similarly having trouble paying people?[00:49:13] Dan Runcie: Yeah, Yeah, and whether that reputation has stuck with Puff the same way that it's clearly stuck with Bert and Slim.[00:49:21] Zack Greenburg: I think they both have, you know, or rather the three of them, I think it does follow them around, but in different ways. I mean, I think, I think with cash money, there's some element of it that's like, well, you know, I think their response to a lot of it is this stuff began when, you know, the things weren't properly papered up and, you know, nobody really knew how these things worked and blah, blah, blah.And you know, you can sort of agree with that or not, right? Or maybe you could say it is to some extent your responsibility to make sure things are paid up, you know, once you become that successful. but, you know, I think that Puff was sort of like, you know, Bad Boy was, done through Clive through real estate.It was done through a major label, sort of from the beginning. And, you know, I think you could argue actually that that's why Cash Money was ultimately worth more, like, was like a bigger source of the Williams Brothers wealth than Bad Boy ever was, for Diddy. And he had to go, you know, do these other things. But you know, like it wasn't as though there were no lawyers involved. It wasn't as though there wasn't some big record label apparatus. There absolutely was. And you know, so I, think that excuse sort of like, doesn't fly quite as much. it's probably not leveled quite as much with him either, but, you know, but it's definitely there and, it's sort of like, it's hard to look past it in some regards.[00:50:41] Dan Runcie: Yeah. I think that one of the reasons why I think the public image of it is different is because of the businesses that the two are involved in. Bird man's a music man almost in the same way that Clive Davis is a music man. That's what we know him as even in the conversation you had shared last time where you were doing this extensive feature profile with them on Forbes and you were gonna have another follow-up conversation with him that night, and he's like, no, no.Bird Man's still in the studio. He's doing his thing like that's what he wants to do versus Puff has his interest in all these other areas, beverages, spirits, sports, entertainment, now with Revolt or Sean John, or whatever it is. So there's so many more things we know him as, or he's running the New York City marathon, he's trying to launch this thing, and all of those things can broaden your image of him.So if you hear a complaint about the one particular aspect of this business, that's one area of what he's doing, as opposed to us knowing Bird and Slim as. The owners of this record label, and now there's a dispute with the one thing that we know them for.[00:51:49] Zack Greenburg: Yeah. Okay. I see what you mean. So it's sort of like, in a way it's less central like the music is less central to his identity, therefore we hear less about the disputes because we just hear less about the music side overall.[00:52:01] Dan Runcie: Right.[00:52:02] Zack Greenburg: Yeah, that makes a lot of sense. I mean, and then, when you look at what happened to Bad Boy, you know, even just from a corporate perspective, it was a 2005, he sold 50% of it to Warner for 30 million bucks, something like that.So, obviously that, means, you know, by those numbers it was worth 60 million. At the time there was probably just the recorded music side and there was publishing as well, which is separate. I think you did some other publishing deals too, but you know, that number in 2005, I mean, I'm sure that's lower than.Cash money was valued at in 2005. But, you know, he just kind of made the decision to pull some money off the table, right? And I think that says some, something about his priorities too, that he wasn't that focused on the music side of things. So, you know, like, let's make this deal and then move on, to the next thing.And I think a couple years after that was when he launched Ciroc or, you know, came on with Ciroc and launched his Ciroc campaign presence, whatever you wanna call it. you know, partnership thing. So, I think ultimately for Bad Boy, you know, I think it had a peak that was as high as really, you know, any label, in hip hop did.But its fortunes became so wrapped up with Puffy that once, once he moved away from music, it's like, how are you ever really gonna come back from that?[00:53:15] Dan Runcie: Right. It really wasn't a business it was a business, but almost in the same way that a lot of people that are creators now and trying to do things, there's this ongoing discussion or debate they have about whether are you trying to build a business with a roster around you, or is this more so a soul entity?And I think Bad Boy definitely saw both of those things, but you normally seen in the flip side where you start with the lead person being known as the thing, and then they add the roster around them. But Bad Boy was kind of the opposite, where you had this roster and then it becomes the lead person becoming more known for the thing.[00:53:48] Zack Greenburg: And I think it moved away from that assembly line idea, you know, the Motown thing, the Coachella thing, whatever, you know, you're gonna, buy the tickets for, you know, who's there. It just became all about Puff and, you know, I think in a way he realized it was more lucrative that way, right? N o matter how involved he was in however many different pro projects as sort of the, the Berry Gordy, he could make more, you know, for himself being Puff. And in a way, when you look at Ciroc, it's like, you know, it's the same thing, right? Like he's selling the Art of celebration. He's selling his brand of success. He just doesn't have to sign other artists to it, you know? So I see has Ciroc Boys, you know, that's, I mean, it is almost like a record label to some extent, you know, if you like an extension of, Bad Boy. If you think about, you know, the different artists who are kind of like involved on some level, you know, over the years with that brand, it just, you don't have to get involved in like publishing and, you know, licensing and mechanical royalties and all of that fun stuff.[00:54:50] Dan Runcie: Right. And I think with that it's a good chance to talk about some of these categories we have here. So what do you think is the best signing that Bad Boy did?[00:54:59] Zack Greenburg: I think a hundred percent, you gotta go with Biggie, no doubt. I mean, you know, if you're calling the signing $500,000 to get him over from uptown, you know, plus whatever they ended up paying him. I mean, you think about the success of Life after Death and all the other albums and, you know, the albums that, were sort of in the hopper after he died.I mean, I think hard to top that.[00:55:19] Dan Runcie: Agreed. Yeah, No debates there. That was the same one. What do you think is the best business move to come from Bad Boy?[00:55:26] Zack Greenburg: I would, I would argue that, I would argue Sean John because, you know, in creating the Bad Boy image, that was, you know, really bankrolled like all those videos, obviously Bankrolled by Arista, bankrolled by, you know, the, parent company, you know, Puffy created this aura around himself, which was very fashion oriented.And then he was able to parlay that into creating, you know, an actual fashion brand that he owned, or at least, you know, partially owned and himself, which then generated hundreds of billions of dollars. And then he sold and got, you know, whatever it was, a hundred million dollars and he bought it back.but anyway, he did really well for himself. I think with the help of this shine that was kind of like given or enabled at least, by a Bad Boy.[00:56:13] Dan Runcie: Yeah, I think that's a good one. The other thing that I wanna give some love to, that we haven't talked about much yet, but was the Bad Boy Street team and how they went about promoting and pushing their records all over the major cities. A lot of people may think that Bad Boy invented to the street team.I think I still do give loud of records credit for that, but Bad Boy did take things to another level, and this goes back to Puff and his strength as a promoter. This is what Club promoters do. This is how you push and get the word out there. So he's able to replicate himself. He's able to empower the people to feel like they're part of Bad Boy himself and making sure that they're styled in the same way, to be able to help sell that same image that Puff wants to sell himself.And you saw him replicate this as well with Ciroc Boys and things like that. And shout out to Sean Perez, who worked with Puff at Bad Boy and on Ciroc on this same strategy.[00:57:07] Zack Greenburg: Yeah. Although, you know, it was a great one, and a great strategy, but it didn't always work. What's the line? I felt like Bad Boys Street team, I couldn't work. the locks.True.[00:57:19] Dan Runcie: Yeah. Usually worked. But yeah, they just needed to see the vision as they said. what's the best dark horse move? You have a good one for this.[00:57:27] Zack Greenburg: Yeah. Yeah, yeah. Okay. maybe a little controversial. I don't know. I'm gonna go shine. Because if Paul hadn't signed Shine, I mean, I don't know, you know, I'm not a lawyer or anything, but, all I know is that something went down in that

Our favorite vinyl records from bands or artists filed under "G". And...GO! In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2022, idiot basement-dwelling, award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-first episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good handle on the alphabet. They had previously utilized the letters A thru F, so naturally, they went with G. Nuthin' But a “G” Thang mixtape:   [SIDE G1] (1) Game Theory - Erica's World (2) Grant Green - We Have Only Just Begun (3) Grazia - Soyle Beni (4) Goodie Mob - Cell Therapy (5) Glitterhouse - I Lost Me a Friend [SIDE G2] (1) Guru featuring Roy Ayers - Take a Look at Yourself (2) Grandaddy - Hewlett's Daughter (3) Marvin Gaye - Trouble Man (4) Guadalcanal Diary - 3AM (5) The Goon Sax - Sweaty Hands [END]   Sonic contributors to episode thirty-one of Lightnin' Licks Radio include:  Lee Moses, Brothers Johnson, Holland-Dozier-Holland, Cal Tjader, Craig Mack & Co., DJ Evil Dee, The Nonce, Kendrick Lamar, Dr. Dre & Snoop, Lee Hazelwood, J. Geils Band, some classic Sesame Street ABC bits, White Wedding String Quartet, Milkbone, Geto Boys, The Goon Sax, The Go-Betweens, Guadalcanal Diary, Don Dixon, Marti Jones, L.L. Cool J., Rick Rubin,  DJ Premier, Gang Starr, Roy Ayers, Branford Marsalis, Donald Byrd, Guru, Nena Cherry, The Velvet Underground, Game Theory, The Loud Family, Scott Miller, Let's Active, Goodie Mob, Rob Harvilla, Outkast, Gnarles Barkley, Cee Lo Green, Witch Doctor, The Dungeon Family, Grandaddy, The Alan Parsons Project, Chicago, Grant Green, Rudy Van Gelder, The Jackson Five, The Carpenters, Roger Nichols, Paul Williams, Mozart, Glitterhouse, Slowdive, Marvin Gaye, Tammi Terell, The Funk Brothers, Booker T. & the M.G.s, Grazia, Marko Buchar, Murray Head, Andrew Doggett, Andrew Llyod Webber, Tim Rice, The Deviants, The Clockers. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Gina Thompson began singing at an early age and was signed to her first recording contract with Mercury Records shortly after graduating high school. Nobody Does It Better was Gina Thompson's first album. Released in 1996, it featured production by Missy Elliott and Diddy, and featured appearances by Elliott, Diddy, and Craig Mack, among others.[1] Her first single from the album, "The Things That You Do", was a success, peaking at number 41 on the Billboard Hot 100 charts, and number 12 on Billboard's Hot R&B/Hip-Hop Singles & Tracks chart. Thompson's second album, If You Only Knew, was set to be released on September 21, 1999 on Elektra Records through Missy Elliott's The Goldmind Inc. imprint. Two singles were released in advance of the album's anticipated release date: "Ya Di Ya", featuring Elliott, peaked at number 38 on the R&B chart, while "Caught Up", featuring rapper Beanie Sigel, failed to chart. The album was shelved, and Thompson asked to be released from her contract. Thompson continued to perform as an independent artist, and began work on a third album in 2008. #GinaThomspn #TheThingsThatYouDo #WhatYouNeedToKnow Halftime Chat is hosted by Mental Health Psychotherapist Nnamdi E.S. Okoye. Dropping New Interviews and Music Every Week! =============================== Want to Donate or support the production of Halftime Chat?

Interview by MikalaTV https://www.instagram.com/_mikalatv_/ We recently sat down with D.C. artist Kaniyah for an exclusive “Off The Porch” interview! During our conversation she discussed her tough upbringing in D.C., joining a gang when she was younger, learning to know who you want to be in life at a very early age, advice to young women when it comes to boys and being a follower, having to unlearn certain patterns from her upbringing, pursing music during the MySpace era, rapping about her hood when she first started out, music becoming therapeutic for her, making diverse music, getting into the pop/rap genre, her experience on the music scene in D.C., pursing her career in fashion, having a love for multiple career paths outside of music, her viral freestyle to Craig Mack's “Flava In Your Ear”,  her grind as she's still emerging, the pressure of being a women in the industry, embracing her authenticity within her music, her strong friendship with Goonew, having a strong mindset to make it out of the D.C., not getting sucked into the environment around her when it came to pursing her music, feeling alienated after leaving her environment, getting the chance to work with Shy Glizzy & Enchanting, feeling empowered as she continues to pursue her career, her recent single “Outside”, dropping more visuals and singles this year, and more! 

Interview by MikalaTV https://www.instagram.com/_mikalatv_/ We recently sat down with D.C. artist Kaniyah for an exclusive “Off The Porch” interview! During our conversation she discussed her tough upbringing in D.C., joining a gang when she was younger, learning to know who you want to be in life at a very early age, advice to young women when it comes to boys and being a follower, having to unlearn certain patterns from her upbringing, pursing music during the MySpace era, rapping about her hood when she first started out, music becoming therapeutic for her, making diverse music, getting into the pop/rap genre, her experience on the music scene in D.C., pursing her career in fashion, having a love for multiple career paths outside of music, her viral freestyle to Craig Mack's “Flava In Your Ear”,  her grind as she's still emerging, the pressure of being a women in the industry, embracing her authenticity within her music, her strong friendship with Goonew, having a strong mindset to make it out of the D.C., not getting sucked into the environment around her when it came to pursing her music, feeling alienated after leaving her environment, getting the chance to work with Shy Glizzy & Enchanting, feeling empowered as she continues to pursue her career, her recent single “Outside”, dropping more visuals and singles this year, and more! 

Its been 26 years since we tragically lost the Notorious B.I.G. In this Backstory episode Colby Colb tells the story of BIG from his early days in the streets of Brooklyn through his initial success, relationship with Tupac including a very detailed description of the beef between them and how it caused an East Coast/West Coast rivalry. Colby will also share exclusive interviews he had with Biggie's mother Voletta Wallace and the man who discovered him DJ Mister C. There are also interviews that Colby had with Biggy including an interview with Craig Mack and Biggy around the release of their Flavor In Ya Ear remix. At the end of the podcast there are bonus clips of interviews with the late Craig Mack and an interview with Tupac the night “Juice” was released in January of 1992. @getthebackstory @officialcolbycolb   https://podcasts.apple.com/us/podcast/backstory-with-colby-colb/id1339943923 https://open.spotify.com/show/0ZRCkyd1wgg4Sawr4IewykSee omnystudio.com/listener for privacy information.

Sole Free Presents a Conversation with DJ Belal Join Harlan Friedman as he continues the Sole Free Conversation with series in honor of #hiphop50 with the legendary DJ Belal. DJ Belal hails from the 11798 Wyandanch, NY (Strong Island). As a youth and prior to their world-wide acclaim DJ Belal had the honor of being the DJ for iconic rap artist such as Rakim, Biz Markie, Craig Mack, Chubb Rock & Actor Daryl "Chill" Mitchell & Biz Markie. DJ Belal was portrayed by Martin Lawrence in the Hudlin brother's cult-classic hit movie "House Party". Beyond his accomplishments and accolades as a DJ, Belal is one third of the hip-hop group Groove, B, Chill which was one of the founding groups signed to Andre Harrell's Uptown Records. #nyc #hiphop #music #solefree #longisland #harlanfriedman #wyandanch --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Rampage, the 1st cousin of Busta Rhymes and 1st Lieutenant of the group FlipMode Squad drops bomb after bomb of knowledge on creative side hustles that he uses to generate extra income and then FREESTYLES with the host, Shaun Jay! Support this podcast: https://anchor.fm/shaun-jay/support SPONSORS: Interested in sponsoring the next episode? Email us at makingmagicpodcast@gmail.com and let's make it happen! LISTEN TO THE SHOW ON YOUR FAVORITE PODCAST APP Apple Podcasts: http://bit.ly/makingmagiconapple Spotify: http://bit.ly/makingmagicspotify Google Podcasts: http://bit.ly/makingmagicgoogle ABOUT RAMPAGE: Roger McNair, better known by his stage name Rampage, is an American rapper who is a member of the Flipmode Squad. He is a long-time collaborator with his cousin Busta Rhymes. Rampage was born Roger McNair in Brooklyn, New York City on August 1, 1974, to Katherine McNair and Roger Williams, who are from Jamaica. In 1992, McNair was given his first recording deal with Dallas Austin on Rowdy / Arista Records and released the single "Beware of the Rampsack". In 1993 Rampage made his first guest appearance on the song “Spontaneous (13 MC's Deep)” off Leaders Of The New School's T.I.M.E. (The Inner Mind's Eye). In 1994, he recorded “Flava in Ya Ear In (Remix)” with Craig Mack, Notorious B.I.G., LL Cool J and Busta Rhymes. In 1996, he recorded the platinum single "Woo Hah!! Got You All in Check" with Busta Rhymes for the platinum album The Coming. One year later, he was given a second recording deal with Elektra Records and released his gold solo LP, Scout's Honor... by Way of Blood, which included the top-40 hit "Take It to the Streets" and "Wild for da Night". In 1998, he released The Imperial with the Flipmode Squad, which gave them their first Source Award in 1999. Since then, he has recorded with Busta Rhymes on numerous platinum albums and has appeared on various projects including a remix of the multi-platinum single “Fallin'” by Alicia Keys. Currently[when?] based in Phoenix, Arizona, McNair recently[when?] signed an independent record label deal for his company DeepFreeze Entertainment (DFE) with Sure Shot Records. On that label, he has released for promotional use a single of a new group signed to DFE named Total Vision. Lady Day, a rapper, is also on the roster. Around 2005, McNair decided to relaunch his solo career and released an official mixtape called Demagraffix which was designed as a starter for his second album, Have You Seen?, released in 2006 by Sure Shot Records. In May 2020 Rampage released his hit single #Selfie produced by DJ Excel The MixMaster who has remixed for Sean Paul, Sasha, Fatman Scoop, Elephant Man, Cutty Ranks Panhead, and Beyonce. A remix containing a sample from DMX "Party Up" was also released simultaneously to the original. About SHAUN JAY: Raleigh magician Shaun Jay has been seen on FOX, ABC, NBC, Masters of Illusion on the CW Network and also the TEDx Stage. Raleigh magician Shaun Jay started his career at the early age of 12 and has studied under some of the biggest names in magic over the past 20 years. Shaun offers corporate entertainment in Raleigh NC and surrounding areas. When not performing or speaking at events, Shaun uses his talents for 3D design and 3D printing to help companies and individuals bring their ideas and inventions to life. Shaun uses these talents as a trusted creative consultant for one of the world's premiere and most respected magic inventors, Paul Harris. Shaun is part of an exclusive team that helps invent some of the most cutting edge illusions that are then sold to other magicians across the globe. --- Support this podcast: https://anchor.fm/shaun-jay/support

This week on the 'MOC Old Skool Mix Party', Metro Beatz takes you back with music from Craig Mack, LSG, Toni Braxton, Shanice, Jagged Edge and more!! Listen live every Saturday at 6pm (EST) on mocradio.com

Theme Park Adventures: Mike is back from his Halloween theme park adventures last week, this is for the silent majority.Ye On Tucker: Kanye West was on Tucker Carlson's show to explain his White Lives Matter shirt and continue to dominate the fashion landscape.Stunts: Why do some people's stunts get celebrated but not Kanye!? Steve-O? Borat? IMPRACTICAL JOKERS!?THE POWER OF DARKNESS!, KILL YOURSELF!, AN AMERICAN WEREWOLF IN LONDON!, SPOOKY SEASON!, ANNABELLE CREATION!, DAVID F SANDBERG!, PATREON!, MIKE AT HALLOWEEN HORROR NIGHTS!, SKANKFEST!, LUIS J. GOMEZ!, NO SHOW!?, CHRISTMAS!, HALLOWEEN!, HAUNTED MANSION HOLIDAY!, NIGHTMARE BEFORE CHRISTMAS!, JACK!, SALLY!, GALAXY'S EDGE!, RISE OF THE RESISTANCE!, MONSTERS AFTER DARK!, GUARDIANS OF THE GALAXY!, BRUNO!, MEXICAN!, SANDERSON SISTERS!, AGATHA!, TRICK OR TREAT!, GRAPES!, REFRESHING!, SMUGGLER'S RUN!, MILLENIUM FALCON!, SPLASH MOUNTAIN!, PRINCESS AND THE FROG!, PROUD!, CHURRO FLIGHT!, PUMPKIN PIE CHURRO!, CAR'S LAND!, RADIATOR SPRINGS RACER!, DEBIT CARD!, ANAHEIM!, MONEY!, SCAM!, MIX CD!, NYC!, FINESSE!, KANYE WEST!, YE!, WHITE LIVES MATTER!, FASHION!, LADY GAGA!, FOX NEWS!, TUCKER CARLSON!, GOD!, BIBLE!, MEDIA!, CANDACE OWENS!, BRILLIANCE!, P DIDDY!, VULTURE!, MASE!, CRAIG MACK!, BIGGIE!, PERFORMATIVE!, ATTENTION SEEKING!, LAMAR ODOM!, PREMEDITATED!, STUNTS!, TV!, BORAT!, LADY BORAT!, STEVE-O!, NATHAN FIELDER!, IMPRACTICAL JOKERS!, SAL!, MIKE VIDEOGAME!, STAXX!You can find the videos from this episode at our Discord RIGHT HERE!

No, this episode isn't about skin care routines for your feet. The title comes from the greatest rap verse of all time. But before that, Matt and Will start with a vaguely coherent talk about future podcasting plans and how much they love cigarettes. Matt then launches into a deep dive review of the "Flava in Ya Ear" Remix, with some of the greatest and most baffling guest appearances of all time. Will reviews the Descent video game series and the pair talk about the first time Will met Jon, when playing multiplayer using a LAN connection. Note for Zoomer kids: wires are used to connect things together, you might have heard of them. This week's remixed theme song again uses "bongo dry.wav" by Satoration via Freesound.

Warning: If you are not Pro-Choice and have no problems with the recent rulings of the Supreme Court then you will definitely want to skip this episode. Beef Wine & Shenanigans is and always will be in favor of a woman's right to total body autonomy! To paraphrase rapper Craig Mack, you must be trying to get in the Guinness Book of World Records as the dumbest mother****er alive if you think the disenfranchised of America are not ready to fight you over this hypocritical, conservative BS! At the end, we shout out some organizations who you can send your extra scratch to help out. You know, like #PlannedParenthood. Time to get mad and stay mad until human rights are protected for everyone!

The KiddChris Show - 06/28/2022- Guy beats his kids killer while in courtroom- Dumb Bigfoot people- Nadina comes in to meet The Seg Man- Old creep busted Airdropping pixxx on an airplane- The return of Craig Mack!

40 Years of Hip hop is the fastest-growing podcast (available on over 20 platforms).Created by hip hop aficionado Mr. Ron. 40YOHH selected 1000 Hip Hop songs that embodies the true essence of hip-hop culture, from 1979 to 2019.Support the show:  buymeacoffee.com/40yearsofhiphopStay in touch with 40 Years of Hip Hop...Mr. Ron

We're baaaaaaaaaaaack! Welcome to another episode of Lessons from the 7. In this episode we get you all updated on what's been going on in our lives and get into some interesting conversations about relationships, conflict etc. We also pay respect to our dear friend Jordan Jimerson who passed away earlier this year. Tap in & don't forget to leave a review or share with friends. Music: Welcome Back by Mase, Flava in Ya Ear by Craig Mack

Coming on hot this week as we load up the decks with 5 fresh cuts, our Featured Artist of the Week - Hollie Cook, including her latest single. We also dive back into two 90s golden era hip-hop tracks from Poor Righteous Teachers and Craig Mack's "Flava In Ya Ear" plus the usual suspects - Treasure Chest, Irie Trax Of The Week, Shout Outs, and more - all rammed into 60 minutes of sonic bliss.  Kick back, crank it up -  this week's show is now in session! PLAYLIST Dubmatix - Detonator Frighty, Colonel Mite - Life (Is What You Make It) Rodney P, Peoples Army & Mighty Moe - Live Up SHY FX, Breakage & Mr Williamz - Kings Highway Hollie Cook - Milk & Honey Hollie Cook - 99 ft Jah9 Hollie Cook - Happy Hour Poor Righteous Teachers - Black Business Craig Mack - Flava In Ya Ear Cesco, Sam Binga & Redders - Bring A Friend L'Entourloop - Calling Dancers (ft. Alborosie & Promoe) Zoolook - Natural High Macka B - Never Played A 45 Watch The Ride & Nia Archives - Mash Up The Dance Dub Phizix - Come On JUMP IN AND JOIN UP Join me in the Bassment each week for a session of top vibes.  www.bassmentsessions.com IRIE MAGAZINE for the latest in the world of reggae and beyond, jump on over to the number one online reggae magazine that matters https://www.iriemag.com/

On this exciting new episode of #SayWhatYouMean Jéan P The MC chats with filmmakers Joe Lewis & Tim Smith on their journey documenting cult leader R.G. Stair in South Carolina. We also learn R.G. Stair's connection to Hip-Hop artist Craig Mack and the mystery to his disappearance from the world. Twitter, Instagram, Snapchat, TikTok @jeanpthemc

So many sixes! It's the sixth episode of the sixth season and the 36th episode overall—and it's the final episode of the season on top of all of that. In this extremely momentous episode, Kevin welcomes old friend and Taylor Swift Subject Matter Expert Juliana O'Callaghan to the show—a Taylor-cast, if you will, where the two do an extremely deep dive on a selection of Swift's music, from the beginning of her career up through 2020's Evermore.     For more information about the "award winning" music criticism site, Anhedonic Headphones, click here   Episode Musical Credits Opening Theme Music- "Flava In Ya Ear" (Instrumental); written by Osten Harvey Jr, Craig Mack, Roger Nichols, and Paul Williams. Bad Boy Records, 1994. Closing Theme Music - "Feelin'"; written by Rashad Harden. Hyperdub Records, 2013.   "The Archer," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Lover, Republic, 2019. "Closure," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Evermore, Republic, 2020. "I Wish You Would," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. 1989, Big Machine, 2014. "Cardigan," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Folklore, Republic, 2020. "Cold as You," written by Taylor Swift and Liz Rose; performed by Taylor Swift. Taylor Swift, Big Machine, 2006. "I Almost Do (Taylor's Version)," written and performed by Taylor Swift. Red (Taylor's Version), Republic, 2021. "Call it What You Want," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Reputation, Big Machine, 2017. "Out of The Woods," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. 1989, Big Machine, 2014. "This is Me Trying," written by Taylor Swift and Jack Antonoff; performed by Taylor Swift. Folklore, Republic, 2020. "Hoax," written by Taylor Swift and Aaron Dessner; performed by Taylor Swift. Folklore, Republic, 2020. "Coney Island," written by Taylor Swift, Joe Alwyn, Aaron Dessner, and Bryce Dessner; performed by Taylor Swift featuring The National. Evermore, Republic, 2020.

Helen and Gavin chat about Encanto, Sing 2, Four Lives, and The 355, and it's Week 16 from the list of Rolling Stone's 500 Best Songs Ever, numbers 425 to 421; Mannish Boy by Muddy Waters, No Diggity by Blackstreet feat. Dr. Dre and Queen Pen, Criminal by Fiona Apple, Flava in Ya Ear (Remix) by Craig Mack feat. Notorious B.I.G., LL Cool J, Busta Rhymes and Rampage, and How Soon Is Now? by The Smiths.

DJ 4our 5ive aka K La Boss has been the tour DJ for The Notorious B.I.G, EPMD, Lil Wayne, Mase, Fabolous, Craig Mack, Lil' Kim, Cam'ron, Puff and so many more in their prime! His touring DJ career alone spans 4 decades and we're going to get in to all of that and more. Some amazing stories from the road to real life situations. Just hit play and enjoy this telling conversation.

The song that launched Bad Boy Records and sets the stage for Puff Daddy and Notorious B.I.G. Is to rule the world belongs to a guy called Craig Mack?

It's not every day you get to go back to your old school and talk with your teachers. Today, we got that chance to speak to one of them. Doctor Dre was the only doctor I knew growing up besides Dr. Spock. Dre, along with Fab Five Freddy and Ed Lover, were instrumental in our early exposures to hip-hop. They helped educate and they definitely helped entertain us. If not for YO! MTV Raps, many of us wouldn't have even known these classic rap videos existed. There was no internet back then. Certainly nothing remotely close to Youtube. If you didn't catch Music Box, Pump It Up, Rap City or Yo!, chances are, you just missed out! While Fab Five Freddy took on the more serious role as the teacher who dropped knowledge all day, it was the fun-loving duo of Doctor Dre and Ed Lover that really captivated you. They had you laughing from the start of the class to the end of it. They left you wanting more. Doctor Dre knew how to kick dunn language, like on Knowledge Me, and he and Ed both knew how to have fun like Back Up Off Me. There has never been a team like Doctor Dre and Ed Lover and considering how the music industry is today, especially MTV, there never will be. Before mainstream TV really embraced hip-hop, before you had In Living Color, Martin, The Fresh Prince of Bel-Air or New York Undercover, it was YO! MTV Raps that was pivotal in the hip-hop movement in mainstream America. On this episode, we pay homage to YO! with 2 ridiculously dope DJ 360 mixes. We also speak to the great Doctor Dre. We talk about his early days at Adelphi University with Chucky D and Flavor Flav. We talk Original Concept, Def Jam and some interesting stories about Rick Rubin. We cover touring with the Beasties, how Bill Cosby did a very Bill Cosby thing when on YO!. We find out Don Cornelius felt threatened by their success. We talk about RUN-DMC not giving Dre the proper credit all the way to dropping an album on Def Jam in ‘88 along with Slick Rick and Public Enemy. We talk a lot of P.E., even Dre's love/hate relationship with Flavor Flav. We cover a lot of ground here. From Who's The Man, to who was the man behind the selections on the the soundtrack. But - what would this interview be without the amazing history and stories of YO!? We take you to the final episode, where that infamous freestyle session goes down between Rakim, Chubb Rock, Erick Sermon, MC Serch, KRS-One, Redman, Method Man, Large Professor, Special Ed and Craig Mack. We learn who Doctor Dre felt had the best verse on that iconic episode. So much and more. Don't miss our YO! MTV Raps Tribute Show featuring Doctor Dre!

This week, Sterling Golden and Tiara Life throw it back to Russell Simmons's 1995 doc film The Show. "Watch-Along" with us and relive the hip-hop renaissance of the 90's as iconic names such as the Notorious B.I.G., Wu-Tang Clan, Craig Mack, Run-D.M.C. and more bless the screen through concert film, intimate interviews, and behind-the-scenes footage.

We have one of the most exciting, informative and legendary guest interviews in the show's history - Erick Sermon! The Green-Eyed Bandit is an open book and doesn't hesitate to "go there" on many topics you'll want to hear about. We talk about the early years of meeting PMD and landing their first record deal for $1500. We talk about how Russell brought them to Def Jam and then how Clive Davis forked over a cool 4 million to sign Erick after Music had dropped. We talk about touring with Run-DMC. We talk Craig Mack, Biggie, 50 Cent, Lyor Cohen, Ludacris, Nas and of course, Redman. We touch on the PMD beef and the possibility of a reunion. Erick says his best years of his life was when they broke-up and he went solo. We find out that Erick and Ice Cube were best friends and that E helped him prepare for going solo as well. We find out that Dr. Dre had originally turned down the opportunity to remix "The Platform" by Dilated Peoples, so E stepped in and cashed out after making the beat in just 30 minutes. We also learn many great (GOAT) producers turned down to work with Shaq, but Erick was game. We talk about Erick's rim shop and what it meant to Atlanta and specifically, the hip-hop scene. And yes, Keith Murray kicked David Banner out of the shop once too! Erick doesn't hold back about anything. Whether he was messing around with Lisa "Left Eye" Lopes or Wendy Williams, he goes there. We learn Eric B. is still the guy to get things done and was responsible for getting Marvin Gaye's family to clear the sample. We talk Def Squad and learn Erick isn't a big fan of their cover of Rapper's Delight. We find out how Red & Meth also derailed the Def Squad. And we finally find out why we aren't hearing more of Erick and Redman. This description sounds like we're giving it all away, but we haven't even scratched the surface. You don't want to miss this interview!

31 episodes ago we hit you with the first installment Respect The Architects. On II, we pay homage to the legendary Slick Rick, Beastie Boys and EPMD. In addition, we have one of the most exciting, informative and legendary guest interviews in the show's history - Erick Sermon! The Green-Eyed Bandit is an open book and doesn't hesitate to "go there" on many topics you'll want to hear about. We talk about the early years of meeting PMD and landing their first record deal for $1500. We talk about how Russell brought them to Def Jam and then how Clive Davis forked over a cool 4 million to sign Erick after Music had dropped. We talk about touring with Run-DMC. We talk Craig Mack, Biggie, 50 Cent, Lyor Cohen, Ludacris, Nas and of course, Redman. We touch on the PMD beef and the possibility of a reunion. Erick says his best years of his life was when they broke-up and he went solo. We find out that Erick and Ice Cube were best friends and that E helped him prepare for going solo as well. We find out that Dr. Dre had originally turned down the opportunity to remix "The Platform" by Dilated Peoples, so E stepped in and cashed out after making the beat in just 30 minutes. We also learn many great (GOAT) producers turned down to work with Shaq, but Erick was game. We talk about Erick's rim shop and what it meant to Atlanta and specifically, the hip-hop scene. And yes, Keith Murray kicked David Banner out of the shop once too! Erick doesn't hold back about anything. Whether he was messing around with Lisa "Left Eye" Lopes or Wendy Williams, he goes there. We learn Eric B. is still the guy to get things done and was responsible for getting Marvin Gaye's family to clear the sample. We talk Def Squad and learn Erick isn't a big fan of their cover of Rapper's Delight. We find out how Red & Meth also derailed the Def Squad. And we finally find out why we aren't hearing more of Erick and Redman. This description sounds like I gave it all away, but we haven't even scratched the surface. You don't want to miss this interview!