Episode Transcript
[00:00:00] Yes. Don't forget to log on to Doggydiamondstv.com. that is my official website, Doggydiamondstv.Com. but when you go there, I'm gonna need you to go all the way to the bottom of the website. Put your email in there. Put your email inside of the website. And when you put your email in there, you will receive. Let me show you. Hold on. Let me show you. You see this? This is the website doggydiamondstv.com. as you can see, every new video, the audio is on here. Every audio. But I need you to go all the way down here. You see where it says join my email list? Put your email right in there. And when you hit submit, I will make sure that you personally get great content straight to your inbox. And let me give you some details. Have you heard about my $200 social media promotion deal? Let me give you some details really quick. The promotion will be done on Doggy Diamonds TV and the Interlude TV accounts, that's the Insta stories, the YouTube communities, the threads, Facebook and the Twitter accounts. I could promote whatever you need. But as a reminder, this is for serious inquiries only. Must be cash at ready. Might do, Zelle. Depending. I can help you get in front of over 500,000 people with the post on my various social media outlets with your product. Just contact me at Doggy Diamonds on Instagram. I don't care if it's your YouTube. You want to promote your book, you want to promote your song, your T shirts, your candles, whatever it is you want to promote, I can help you do that. Let's start this.
[00:01:38] Yes. And as we fall into the room, we hitting that like button, right? We hitting that like button. I don't know if we hitting that like button when we come into the room, but let's make sure we doing that in here. We got Dizzle Dixon in the room. We got CEO Phil Cone. Always talk show. The visionary. What's up with you?
[00:01:59] Who? Roach. What's up? My brother's in the room. It's boss is a member. So you already see that green Tisha, what's up?
[00:02:07] We got Tara. Haitian rum. Oh, that's ill. Yes, it's gonna be a good one. Just ride with me.
[00:02:15] Idris, the God, he capping. Hey, I don't know if you saying I'm capping, but just, just, just, you know, before y'all rush the judgment, hear what I got to say. Rashonda Greer, how are you doing? April Dawn. Yes. Just listen to me, tiger. What's up, sucker Free. What's up, Brian? What's up, Torian Howard? Terry, what's up to you? Much love to you and your family as well. Sexy 65. How are you doing? Michael Newman. What's up, Mega bills. What's up, Simbo? SMD show. That is my first cousin right there. Happy birthday. Early birthday. I'm gonna call you too. I meant to call you the other day. Happy belated birthday to him. His birthday was the 20th.
[00:02:59] You only a year older than me, too.
[00:03:02] D.J. red light. What's up? 619 in the building. San Diego. Burning that. Bernie, what's up? And don't forget, watch Slice. What's up? Just Erics. What's up, Mark Velius Kusa. That's out.
[00:03:19] Marcavias. Is that a you from Atlanta? Because all y'all be having them avs names shout out to you. The real show. What's up, sir? God, Black man. What's up, Sean? Orange.
[00:03:30] Orange Accord. Okay, I think I got that, sir. Aqua Poppy. What's up?
[00:03:36] The big homie Sugar's in the building. The 314 is in the building. Ki Uno, what's up?
[00:03:42] Yes, Mario Arroyo. What's up? Salt Lake City, Utah, is in the building.
[00:03:49] Shout out to all y'all, man, you know, I've been. This month's been a little rough for me. I was a little down, had the flu to begin. Oh, South Carolina. Okay. Yvette Holmes, where you been, man? Don't make me find you and bark on you. Nah, I'm glad you're here tonight, Richard. Asante. What's up? So I want y'all to ride with me on this topic.
[00:04:11] Dallas is in the building. Colton Evans is in the building. Y'all hit that, like, button. All right, make sure y'all hit that, like button. Check vids online. What's up? Check vids online.
[00:04:22] What is up? So I'm here, man. I'm here. Doggy diamonds. I'm here. This is the pre birthday show. Tomorrow's my birthday, so y'all ain't gonna see me tomorrow unless I'm going live. But I ain't gonna join y'all tomorrow now unless I do a birthday, a thon or something like that, which I doubt.
[00:04:41] I'm a little tired because I was up early. I had to get my fade fixed. You know what I'm saying? My. My face shaved. Everything done right.
[00:04:50] And just tomorrow I just want to just eat and things I don't normally eat. I'm not going to the gym. I'm not doing none of that. I'm just going to enjoy my day. We only get one a year. Tori and Howard, I thank you for becoming a member. We only get one a year and you better enjoy it the best way you can.
[00:05:09] So I'm going to enjoy mine tomorrow. Me, I want to enjoy it with food F o o D. So if you want to help me eat good tomorrow, the cash app is available pin to the screen as well as the super chat is open. Send it in, I'mma use it. But what I want to talk to you about tonight is something that I thought of earlier and what I'm talking about is from my personal experience as well.
[00:05:38] Now, if you read the title, it says Master P indirectly ruined the independent music business.
[00:05:47] Indirectly. So that means Master P is not directly responsible for the independent music scene being ruined.
[00:05:58] He didn't know that this was gonna happen, but it happened. And what happened? I'm gonna tell you one thing that messed up the independent music scene.
[00:06:09] I need to get a drum roll.
[00:06:12] When Master P came out, when he took that west coast bay hustle, brought it back to New Orleans, the record shop thing and all that, and brought it back to New Orleans, the the selling the records out of the trunk, what happened was throughout America, the drug dealer into the music business.
[00:06:43] When the drug dealer entered the music business and started treating the music business like a drug flip, that became a problem because the drug dealer was investing monies inside of the music business and thinking that it was a drug flip. So I'm going to put this 20 up. I better see 40, I better see 60. Because Master P, according to his legend, Bowdy Bowdy, he got them bricks. He got this, he got that. When that bout it movie came out, everybody started saying you ain't about it. So when his movie and his slang, when your slang becomes international and people start saying about it in the ice cream man. Thank you, Tori and the ice cream man and everybody who had that first it went from I want to be like Tony Montana to Master P. And then Jay Z allegedly took some of his money. He rapped about it. Then the drug dealer became the new CEO.
[00:07:55] The problem was the drug dealer didn't know nothing about the music business.
[00:08:02] So they was taking individuals poor righteous teacher. I appreciate you. They were taking dudes from the hood with talent and investing in the talent. Not knowing the music business. They thought their money made them a CEO because Master P was a CEO now, it worked for a couple of people that they was able to take their monies and put.
[00:08:32] They was able to take their money and flip it into success. But it wasn't too many people. But every hood had the local drug dealer who was now a CEO.
[00:08:50] They was ruining a lot of talent, they was ruining a lot of relationships, and they didn't know what they was doing. And they was treating the music business like a drug flip.
[00:09:01] They thought they could press up shirts, they thought they could press up CDs and sell them out the trunk. They didn't know nothing about the music business. So now everybody is such and such records. They wasn't doing proper LLCs, they wasn't doing proper taxing, they wasn't doing proper offices, they wasn't doing nothing proper. It was just, Imma take this bag and give it to this person. I'mma pay this person. I'mma pay this person. I'mma pay that. And that model stopped working. At a point, it stopped working. But Master P, through his blueprint, everybody tried to follow his blueprint.
[00:09:40] So he, it worked for him. But it was a time, because now think about it, that was the BMF blueprint. See, BMF was. Of course they hustled. But remember, they was trying to break it into the music business. They had all this money, all this money, they couldn't make it in the music business. Blue Da Vinci had records with Fabulous Jeezy coming out the gate with the top artists, top production, all these cars, all this jewelry. But they couldn't make it. Why?
[00:10:16] Because they ain't no shit about the music business.
[00:10:20] They knew how to hustle.
[00:10:23] And when you take the model of I'm a hustler and you think you a hustler, you think you could hustle everything.
[00:10:33] But anybody could tell you the crack game is not like the dope game.
[00:10:39] The customers ain't even the same. When they want they drug, how they ingest they drug, when they got to get they drug and how they act for they drug is different.
[00:10:49] Crackhead might still a dope fiend. Might need they first bag off to get off E at 5am Crackhead been up all night, he never slept. Dope fiend, all they do is get high. Gnawed off. It's different. So when the drug dealer got into the culture, what happened was they started saying, yo, we did this, we did that. Master P was the first person to rap about I got these bricks. He did a. I got the hookup. He did that bout about it movie. And that is what everybody wanted to follow this model. Oh, he ain't about it. You ain't about that. I'm telling you, anytime something that you do becomes an international slang, an international saying, you made it, you made it.
[00:11:40] So I see people in the chat saying the west coast, you know, independent. I'm not talking about selling independent. I'm talking about the drug dealer thinking that they are now an independent record label CEO that come from the Master P blueprint.
[00:12:01] And it happened in every hood, in every project, in every block in New York City. Everybody, yo, we got this record. We got this. We got that. Yo, I'm investing.
[00:12:12] Funny story, all due respect, one time my man J Rome, shout out to J Rome was going to Entertainment that was once Undist. He was going to Entertainment to play some music.
[00:12:34] I don't know who he's going to play music for. I think he was going to play music for just now. If you know anything about entertainment and un and all of them, you know, we from the same neighborhood. So he's like, come with me. I said, oh, yeah, I'm gonna go. I know everybody. So, you know, go up there, see everybody from grand down in Irvin, you know, some dudes from Leopards in there.
[00:12:57] This is when he had allegedly got the $64 million or $54 million from Sony.
[00:13:08] When I went in that record label. And I'm saying this with respect because that's, you know, that's still my family. You know, that's. That's my neighbor, that's my family.
[00:13:19] But when I went into that record label that day, then I saw who was working there, who was in charge.
[00:13:29] I really said to myself, which one of them know about the music business?
[00:13:35] I know he hustle. I know he know this. I know he put in work. I know that. But I didn't see the executive in there. I didn't see the person that was going to be able to sit down and say, hey, quarter one, quarter two, rollout radio. I didn't see that. All I saw was the masterpiece thing.
[00:13:57] That's all I saw. And I was like, yo, what's up? What's up? He was like, what you doing? I'm here with my man. You know what I'm saying? Here to hold my man down.
[00:14:03] At that particular time, I think they did. They had Mace.
[00:14:09] So they did. No, not Mace. They had Cameron.
[00:14:13] So Cameron did some successful stuff.
[00:14:17] He.
[00:14:19] They were working on Little C's record.
[00:14:24] So they wanted commercial music.
[00:14:28] They wanted commercial music.
[00:14:32] So 357 worked.
[00:14:38] They did horse and carriage at work, but now they're working on Sees project. I was a producer at the time. I was Going. But I remember just saying, we only want commercial stuff. And I'm saying to myself, what the hell does a commercial beat?
[00:14:54] My homeboy, my man, my homeboy J Rome had did a beat out of Beverly Hills Cop.
[00:15:08] So when he went up there and played the Beverly Hills Cop, that was right up the alley. Heard he was like, yeah, this the one. And I'm saying to myself, shout out to Rome. I hope he get placement. But I'm like, this is what y'all want to hear. This is commercial. This is going to be Little C's project.
[00:15:30] I didn't see the A and R. I didn't see the CEO. I didn't see the dude that was going to be able to facilitate this record label. I seen the hustlers. I seen the dude who put in the work. I seen all that there. I didn't see. I seen the masterpiece.
[00:15:55] I didn't see the Irv Gotti's.
[00:15:59] I didn't see a Irv Gotti up there. I didn't see a Matt Maddie C up there. I didn't see that. I didn't see a Scot free. I didn't see that.
[00:16:08] Needless to say, after that, he lost his label.
[00:16:16] They took the label back.
[00:16:19] But at that particular time, everybody thought they could take their street money and invest it into an act, an artist. Because everybody, like, I got artists, you know. You know, people love saying, I got artists. And I'm like, artists.
[00:16:41] Artists can be singular and plural at the same time. But be like, I got artists. Yeah. I got these artists I'm working on. Like, his artists. Like who? Who says artists?
[00:16:55] So what happened in this culture, even in my personal experience of somebody that knew the streets, somebody that knew this, didn't earth sale drugs, too. I mean, if you're gonna ask a question like that, you don't know the difference between cell and sale. Irv. Irv wasn't no hustler, but Irv was a dj. But you don't know the difference between cell and sale. Come on, man, it's 20, 25. Y'all gonna have to start doing your due diligence, man. Just, you know. Seriously, I ain't even trying to be funny, but didn't Herb sell drugs, too? Like, come on, man, you shouldn't even have wrote that. Sale drugs anyway.
[00:17:45] Because if you type like that and you write like that and you're an adult, what about the children that don't register with you? That if, you know, if a. You know, because when you read part of reading comprehension and part of Spelling is putting it in a sentence. So if somebody asks you to write cell, you know the difference between sell and sell, right? So if you had to put that in the sentence, why would you put sale in a sentence anyway?
[00:18:19] You know, that's just pet peeve of Mom. And like, sometimes I ain't saying I'm, you know, starting to think tank, or I'm one of the most intelligent, but come on, man, we got to know the difference between simple words. You know what I'm saying?
[00:18:34] You was not being funny. Look, look. Yet I said sale. I know the difference between sell and sell. I was being funny, Aon. See, then you misspelled something else. Anyway.
[00:18:50] Anyway, you can't try to correct yourself and say, I was being funny and then misspell something else. You just gotta sit this one out. It's okay. You still cool. But sometimes you gotta know when to hold them, know when to fold them. That's the time to fold them right there. Just. Just chill out. You know what I'm saying? But anyway, even. Even in my situation that I was in, it went from me being the talent, me, my cousins and, you know, my friends at the time being a talent and believing in somebody that was, you know, getting a little bit of street money and them acting like they can do something for our talent, right? So what happens is, because some of these individuals who know what they're doing on the street, they thought that it transferred into the music business. And it didn't. Most of the times it didn't work because we could name 20, 50 guys who had a little label or whatever, you know, apartment 7B records. You know, we. We know about all that, right? But many of them wasn't successful because they treated the music like a drug flip. And a lot of people were mimicking what was going on.
[00:20:16] Another funny story.
[00:20:19] So it was a particular time.
[00:20:22] I know the soul samples is popular now.
[00:20:27] At one point, the sped up soul samples was popular.
[00:20:33] Many people got credit for inventing that sound.
[00:20:39] I was doing that in 1998, 1997. This is facts. I was doing that 1998, 1997. Besides my crew, I was getting a lot of hate for that type of music. Because at this time, you got Nelly coming out. If you want to go ride with me.
[00:21:00] Like we ain't doing. I say we from Brooklyn, getting a lot of hate. And, you know, sometimes I play y'all my old records. Y'all don't even know them records is from like 97, 98, you know what I'm saying? Maybe it could sound dated. But for to those who don't sound dated to just the style of music, I was doing that.
[00:21:18] I was doing that, and I was getting a lot of hate. Like, yo, you need to do this, you need to do that. So, long story short, I got political ties to Marcy.
[00:21:35] If, you know, you know, whatever.
[00:21:38] Somehow the music got into the hands of Tata.
[00:21:45] Tata told the people who got the music.
[00:21:53] The music is cool. This is 1998.
[00:22:00] The music is cool.
[00:22:03] But I don't need a. I. I don't hear a tunnel banger.
[00:22:09] They need a tunnel banger. I don't hear tunnel banger.
[00:22:13] What I heard.
[00:22:15] So. Because he was who he was, which what the is he to me, but he's Jay Z cousin. I mean, he know what he talking about. That's how I took it. But, you know, people say, you know, Tata, you know, the rock, you know, this, these. These. These imaginary titles we put on people and qualify them based off of who they standing next to, you know? And I'm not saying he didn't turn out to be a great executive or whatever, but we talking about back in the retalking my back then, you know, before.
[00:22:48] This is.
[00:22:50] This is back then when he had the Caudle faculty. So that's how I judged him. I said, yo, I know what Jay Z did with Rockefeller, but he got the Carter faculty. What the hell did the Carter faculty ever do? And shout out to the Carter faculty, because I used to love the Rangers. Shout out to YSP and half, dark half. You know what I'm saying? But YSP that's my boy. You know what I'm saying? So I was like, tata, I know about a tunnel banger. What tunnel banger he ever put out, right?
[00:23:17] It's 1998. We had a big meeting with my crew, my family and everything. And they was all in there saying, yo, we gotta change our sound. We. You see Nelly doing this and Nelly doing that? So to me, I'm in there tight. I'm in there like all y'all. I ain't never making no Nelly beats. I'm from that boom bat, Brooklyn, Easy Mo B coming to the crib. I idolize Pete Rock for his production, Molly Moore. Y'all telling me to make music like somebody from St. Louis. I ain't doing that.
[00:23:54] So I left that meeting tight. I forgot the beat that I went and made after that. But I left the meeting tight. But I remember, and I'm telling you the story for a reason. I remember a bunch of hustlers that Was great at what they was doing, hustling, trying to be music execs.
[00:24:13] It didn't work.
[00:24:16] It didn't work.
[00:24:19] If I could Prove Nelly was 98, would you won yourself?
[00:24:23] Because I could prove it, but wouldn't anyway. I don't have time to go back and forth with you anyway, listen, I was tight.
[00:24:36] I was tight. And I remember just telling my crew, I was like, yo, if y'all want music like Nelly, yeah, find somebody to do that. I ain't doing that. I ain't never doing that. Underlay, underlay. I said, I ain't never doing that.
[00:24:49] He from St. Louis. That's what worked for him. I ain't doing that.
[00:24:55] So Tata said, we need a tunnel banger.
[00:25:04] And his word was lost somehow.
[00:25:07] Then 2001, the blueprint come out.
[00:25:18] Jay Z, the blueprint come out.
[00:25:23] And I'm listening to the blueprint and I hear all these soul samples.
[00:25:32] I hear this slow down pace.
[00:25:36] I see these. I hear these boom bap drums. I hear these sped up samples.
[00:25:42] I was mad as a motherfucker when that album came out.
[00:25:47] I was so mad when that album came out because I was like. I argued with y'all for years, since 1998, telling you that this is where hip hop is gonna though it's going to be. So all that under underlay, underlay is going to be out of here now. We gonna go back to the street. We gonna go back to the soul. I love the Blueprint, One of my favorite albums. But I was the Blueprint before the Blueprint.
[00:26:15] Me and my cousin in the Chat, we always listen to Harold Melvin and Isaac Hayes and all that stuff. We always listen to all of that shit. We just listen to it before. And we used to say, I want to use that. Nobody don't got no equipment. Niggas making pause tapes, everything.
[00:26:34] But because Tata said, we need a tunnel banger who's ready to change their direction. So I'm like, we need a tunnel banger like Nelly and all this stuff.
[00:26:49] How come what I was doing became what he started doing? Then you had produced by K West. And I was like, who the hell is K. West?
[00:26:58] Mad as hell, angry.
[00:27:03] Who the hell is Just Blaze?
[00:27:06] Let me give you another correlation.
[00:27:11] Where we was recording at was a Studio on 1 45th in Amsterdam.
[00:27:21] That's where we recorded our vocals at. Where we mixed.
[00:27:27] Where we mixed these soul sample records was in the cutting room.
[00:27:35] It was a guy by the name of Nasty Pool was our engineer.
[00:27:42] There was also a guy by the name of Mark Something a white dude. Because I used to like white engineers because they come from rock and roll, so they would make your music sound big. But.
[00:27:53] But one of the engineers that never engineer my sessions name was Just Blaze.
[00:28:06] When I heard Just Blaze, he was doing records for Heavy Mental.
[00:28:14] He also did Harlem World.
[00:28:17] I didn't really know him for doing these soul records, these soul samples record. I'm not saying he bit my.
[00:28:24] I just found it ironic that I'm in cutting room mixing, like 10, 20 records. When we was in there. When I was in there mixing, everybody coming in there like, is this who you listen?
[00:28:43] I'm glad. Ccc.
[00:28:48] Documentation, Beats, Conversation. Hold on, hold on.
[00:28:56] Documentation, Beats Conversation. I'm gonna show y'all something.
[00:29:04] I'm gonna show y'all something.
[00:29:09] I just got tagged in this the other day because we was working on a project from like 98 to like 2001.
[00:29:26] Now look, let me show y'all something.
[00:29:33] This was one of the studio sessions. Look at the year.
[00:29:37] You see the year. Listen to the music.
[00:29:43] That's the cutting room.
[00:29:56] Who's that promised?
[00:30:34] I just showed y'all that to show improve 2001. I've been doing that soul music that end up being a sample on Cameron. Come Home With Me. That's my first cousin Poe rapping. That was 2001. I've been doing that shit.
[00:30:55] You know what the problem was? That was me. I was like 2:60 right there. You know what the problem was?
[00:31:05] That Master P, everybody. Did you say? Used to sound like Jay Z too. But I ain't gonna front. I used to feel like my cousin, my cousins, nicer than everybody. But the problem was, it was the Master P effect. We had the talent.
[00:31:24] I'm doing all the beats. My first cousins rapping, my homeboy rapping.
[00:31:31] I had the beats. Yo, if I play that beat for you, I still got all that music.
[00:31:37] All I had to. All that started happening to me was I was sitting back and hearing my music coming out. Like, how the they got that sample?
[00:31:48] How they know about that?
[00:31:51] I didn't know. When you go to big studios, when they burn you CDs, I didn't know all. I didn't know a lot of that shit. I know now.
[00:32:01] But it was the masterpiece thing.
[00:32:04] It was the individuals who thought.
[00:32:07] Who thought they were record label CEOs who thought they was the next big thing based off investing money. A lot of our talent got ruined.
[00:32:27] A lot of our relationships got ruined.
[00:32:31] Because in 2001, which was 24 years ago almost in a month, 24 years ago in a month.
[00:32:43] We had different dreams then.
[00:32:45] We had the talent.
[00:32:48] We did this shit every day. We worked on this every day.
[00:32:54] We worked hard. This what kept us alive. This would. Kept us out the streets. Yeah, we would go out there, whoop a little ass every now and again. Somebody need foot to ass. There was. That was. That was regular degular. But for the most part, we spent time in the crib, working on music, keeping each other out of trouble, keeping each other grounded, staying out of. Because the music was the way that we thought was gonna take us off these blocks out of poverty. So we put the time and effort into the music.
[00:33:29] We gonna get up outta here.
[00:33:31] Because I never was interested into the Master P. I didn't ever wanna be Master P. You couldn't tell me I wasn't Pete Rock or Molly Mall or. Then when I came into my own and found my own sound, that's what I was interested in. That's why every time I do a show, I always say to y'all, what about the music? All that other snitch, rat, gangsta, drug, all that shit don't matter when you hit play. Hit and play is the most important thing that we can do as a culture. Why? Because it brings different cultures together, bring different races together in that room when you hit play, ain't no black people, ain't no white people, ain't no Spanish people, ain't no moocs, ain't none of that shit. It's just a bunch of people in there enjoying the music. That's why I'm so music driven.
[00:34:30] And as I was always music driven, I had to deal with Fake Masterpiece.
[00:34:37] I had to deal with Fake Masterpiece.
[00:34:41] The way I've talked to y'all.
[00:34:44] Ask my cousins. I used to talk them to death about the music industry because I was in it first, but they was right after me in it.
[00:34:54] And we used to talk about music. We wasn't biting nobody. We didn't want to sound like nobody. If your rhyme was whack, we argue, sometimes we tussle. But we wanted to be Brooklyn artists. We ain't never want to do no south. We ain't never want to do none of that. But all we was told by Fake Master Peas is that what we was doing wasn't going to work until Hoove did it.
[00:35:23] Then he doubled down.
[00:35:26] They made the Black Album back into that soul sound. Then Dipset came, and you got the heat makers, and you got. They're using these records. And I'm like, I know that record I know that record.
[00:35:44] I did that already. Like I said, listen to Come Home With Me. I think it's the first joint after Come Home With Me. That's the same sample I just played you.
[00:35:53] It's on camera on album. I tell you where the sample from is. Everything from Blue Magic did that in in 1998.
[00:36:01] Although we were was mixing in 2001, you know, it take a while to do a project.
[00:36:06] I did that in 1998 when was telling me it ain't gonna work. Why everybody thought they was Master P.
[00:36:15] So he came into the culture how he came into the culture and I respect that. I respected no Limit because he was putting a lot of his artists out. They was coming out good, bad and different. Whatever they was coming out. The one thing that the fake masterpiece in the hood didn't do put out ain't believing talent. They believed in the grind of the flip.
[00:36:41] They believed in the money flip. They believe in I'm gonna invest this and get that. They never believed. They never looked at it as a long term investment.
[00:36:52] They never looked at it as a long term investment. Many of you have been ruined by Fake Masterpiece.
[00:37:04] Many of you still have grievances, problems and have never been the same because your talent was taken for granted. Because you believed in somebody who never believed in you by Fake Masterpiece.
[00:37:28] So although he did a great thing, mainly responsible for putting New Orleans on, then Cash Money coming and playing cleanup, the independent, the south, all of these new things that came about the greatness of Master P, it also started a culture that wasn't going to maintain and last because let me tell you something.
[00:38:06] My music, your music, her music, his music, their music, our music was never a drug flip.
[00:38:19] It was talent that comes from the universe through us.
[00:38:24] All we wanted to do was give it to the world. All we wanted to do was put it in the right hands. And what we did sometimes we believed in people, we believed in individuals that rocked you to sleep.
[00:38:40] Shit ain't no drug flip.
[00:38:44] Shit is forever. Music is forever.
[00:38:49] Music is forever. Music touches different genres, different continents, different people.
[00:38:56] Many of us was treated like a drug flip, but never was that and it never was going to work.
[00:39:03] Now, although I could say my music is dope, it's crack and all that never was a drug flip.
[00:39:11] Many of our relationships have never healed since then. Many of our relationships have never been the same since said fake Master P.
[00:39:25] Fake Master P put a little money into you, he make his money back.
[00:39:34] He make his money back. So you wasn't worth it.
[00:39:39] So if I wasn't worth this and that. How is it that Jay Z could take the blueprint, no pun intended, sell all them records and make all them crazy dope records? We had that. How could somebody in the chat say, yo, he sound like Jay.
[00:39:59] You don't find that ironic that my first cousins people say, yo, he sound like Jay.
[00:40:06] Listen to the soundtrack of the music.
[00:40:09] It was that before. It was that we'd have been one of the first ones coming with that.
[00:40:16] That's all I know how to do, is boom bap. I could do other. I could do play keys and all that. But I know that good old Brooklyn.
[00:40:28] I know that Brooklyn shit.
[00:40:31] I know that sound. I know how to make them beats that everybody want to make now, but they can't. They don't know how to, because they don't know how to sample.
[00:40:43] I was sampling prior to a wave. I was sampling when you had to listen to the sample and put it on beat, but based off of your hearing, not what you see. Now y'all see wave. I never in my life was able to sample via wave.
[00:41:00] I have a different trained ear coming from being a dj, where when you blending or you cutting and scratching, that's by ear.
[00:41:10] So when the wave came, I was like, oh, y'all got it easy. That chops it for you. Or you got it easy. I remember doing 90 chops. Chop it, chop it. Oh, that's offbeat chop. I gotta chop it right here.
[00:41:25] I remember that.
[00:41:27] The salute to the new producers who got it easy. Because even though it got it easy, some got it easy.
[00:41:35] Some of y'all still suck, some of y'all still ass.
[00:41:45] But again, that Master P independent that everybody thought they was doing because everybody was in the crib at one particular time of the culture, watching Detroit Reed documentaries. And Alpo did this and Rich Porter did that, and Preacher did this, and Master Pig, everybody had that because it went from Scarface, a fictitious character of a movie, to oh, Alpo. And Rich was doing that.
[00:42:21] Oh, Supreme Magnetic from Fort Greens doing that. A name you don't hear much. But if you from bk, you know who Supreme Magnetic was. So what was happening was we was like, yo, it's possible to be Tony Montana because we seen it on the street level. Then Master P made the street level New Orleans. And then we starting to find out what's the murder capital and all that. We hearing that, yo, they walk around with big ass guns in New Orleans and choppers and all that. We didn't know what the. The choppers was and all that. They calling it Chopper City. And these dudes is walking around with these big ass guns and Juvenile is in the video looking like in one of the most destitute places ever. This is greasy. I ain't know if the was sweaty or greasy but when we saw huh, we was like yo, this is real. Then we hear cash money brother cmb. That goes back to what New Jack City. Hustling money crack.
[00:43:32] So again it worked for some.
[00:43:36] But who it worked for opposed to who it didn't work for. The scales ain't scaling. A new Libra shit going on here. Who it didn't work for is like this, this being who it didn't work for.
[00:43:55] So again what happened was individuals started thinking that we could do that too.
[00:44:04] Then remember this? It flipped to the digital age.
[00:44:11] Remember when people thought, now I was co owner of one of the biggest websites in the world. So I'm a part of it. I'm also a part of the DVD culture.
[00:44:22] People was thinking again, the fake masterpiece.
[00:44:28] All you gotta do is. And if you notice people who say all you gotta do, that ain't all you gotta do.
[00:44:35] The people who say all you gotta do, that ain't all you gotta do.
[00:44:46] But they love saying all you gotta do now is based off of what they never did. But that ain't all you got to do. So let's go to when it became digital.
[00:44:57] People thought all you gotta do is get on the dvd.
[00:45:04] I got this audio, I got these artists I'm gonna pay to get on the come up. Imma pay to get on Cocaine City. I'm gonna pay to get on smack.
[00:45:16] Pay to get on sub Zero dvd.
[00:45:22] And my artist is, is going blow up the fake masterpiece.
[00:45:29] You know who was all over them DVDs? BMF. They been had. Lambos and Range Rovers, whatever. They used to have fleets of cars, but Blue Da Vinci wasn't going to carry it.
[00:45:47] But once people seen that, they adapted that model. Now we gotta get on the DVDs.
[00:45:55] Then started getting on it. I got these artists we seen. Look at the DVDs. I mean I filmed a lot of them. I was there.
[00:46:03] Look at the DVDs. 20 in the room. 1. That's the CEO who talks more than he should.
[00:46:12] Because if he's talking, he should be talking in conference calls and in meetings, but he's talking street vernacular. He can't even have a. Can't even say a complete sentence without saying, you know what I'm saying? You know what I'm saying? Nobody gonna Sit down and talk to you if you can't even speak the damn queen's English. And you asking somebody for all this money because you better believe you look at somebody like, baby, how often did you hear Slim talk?
[00:46:45] You don't hear Slim talk, but you always saw slim like this.
[00:46:53] Where Cash money office. At office was the phone. That's me, Omar, my phone too.
[00:47:03] Get what I'm saying?
[00:47:05] But yeah, I got my artists. He coming out first. He don't even got no record.
[00:47:12] My artists, they was on the dvd. Yo, we get these, a few dozen, we're gonna do these dvd, we gonna blow up.
[00:47:19] Then what happened next became digital. See, I was ahead of the digital wave. And some of them same ass, fake ass, Master P's I'm talking about that I was around, told me in 1998, you can't make money off a computer.
[00:47:42] 1998, because I was trying to do a website. I was trying to do this E Commerce.
[00:47:47] I always, Bill always been on some street geek.
[00:47:51] I always knew about electronics and all that. Always was into that. Remote controls and like that and video cameras. So if you see me filming in 2001, our studio sessions that let you know, I've been filming for over 20 something years. That's my video camera filming that.
[00:48:10] Then it went to digital.
[00:48:16] That's when all you got to do is get that top box on World Store.
[00:48:24] All I gotta do. Yo, Doggy Diamond's my man. I could get you on Forbes.
[00:48:34] The Fake Master Peas was saying, you ain't gotta pay to get on there. Dougie Dumb is my man. He gonna put you on there. And I remember dudes calling me saying, yo, I was going give you the money to get on the website. But such and such said he could get you all get me on there for free.
[00:48:53] And only free I know is Freeway on Rockefeller and free on 106 and park. Can't nobody get you on shit. So whoever told you that lied to you? No, he said he lied.
[00:49:07] But when I had my website, I wasn't charging people a lot of money to be on there.
[00:49:13] First of all, I was Brooklyn biased. Everybody from Brooklyn was a go. I'm gonna be real with you. If you was from Brooklyn, you got free admittance. That's how I felt. Of course, I had a partner. So they have a right to say we got to charge money.
[00:49:28] I had the right to do that. Me, I was like, yo, they from Brooklyn, man. We gotta. We gotta get rid of these Harlem Manny. That's just how I was at the Time anybody who know me know I'm very, very Brooklyn biased. Uh, people started getting on the websites and the fake masterpiece thought all you got to do is get their top box on World Star. Because remember, it went from the actual DVDs to you could watch the video tonight.
[00:50:07] People used to think Forbes DVD stood for dvd.
[00:50:11] No, the dvd, we change it to digital video on demand. So the DVD was for digital video on demand. It wasn't for the actual dvd, but it was on. I was an online dvd. Digital video on demand. But I knew that that was coming. I knew like my first, I didn't even know YouTube started in 2005. My first YouTube upload was 2006. You remember a time where YouTube didn't come stocking your phone. You had to go find the app YouTube and download.
[00:50:45] Didn't come stock in your phone, you had to download YouTube just like how you have to download TikTok and this other stuff. Now YouTube wasn't automatically in your phone, but I knew we were going digital.
[00:50:57] But I was told by the fake masterpiece, you can't make money off computers.
[00:51:06] I knew that was cap.
[00:51:12] That's why I don't listen to nobody.
[00:51:17] I know that I was meant to be an innovator in many different things.
[00:51:25] When I got a vision, it comes from foresight and it come from my execution and ambition that I know that I'm going to take.
[00:51:34] I know what I'm gonna do.
[00:51:38] People who trying to give you advice and one of the things that we do wrong, the person with the money we listen to, he got the money, so he must know. No, the person with the money, nine times out of ten don't know, they just hire somebody because. Just because I'm an expert in this, I'm not an expert in that. Like I gave you the analogy earlier. Just because you sell crack, that don't mean you could sell dope. It's not the same. The customers is not the same. The, the. The workflow ain't the same. The bundle is not the same as a pack.
[00:52:07] It's not the same.
[00:52:10] But I'm sitting here in the 90s and I'm hearing www.duckdown.com duck down.com oh, that's my tag.
[00:52:26] Because remember at one point we were talking about the World Wide Web www.I was on that. We talking about 94, 95. I was on that. When you had to say welcome, you got mail. When you had to get the minutes on the AOL disc, I was on that. Welcome, you got mail. I was on that back then. So I was trying to tell people, listen, man, all of this shit about to change, all this physicals about to change.
[00:53:05] They went from dvd, they tried to do Blu Ray.
[00:53:09] Then Blockbuster was gone.
[00:53:13] Blockbuster's gone. There's no more dvd. So hold on. This whole DVD about to be up out of here. No, it got to be a new way. So. But then me, I knew about the torrents.
[00:53:25] You know, I'm talking a different language. I know about the Torrance. I know about Napster. I know about Seed and stuff. I knew about all of that. I knew about all of that. I knew the difference between $ ethernet, like, yo, if you got ethernet. I knew about HTML, HTML5. I knew about JavaScript. I know about all of that. This 95.
[00:53:49] I'm trying to tell dudes, but when you talking to a Master P wannabe, you are drug flip.
[00:54:08] How could I play y'all music that I played them?
[00:54:15] Do the music get better or do it get worse? Do it get dated?
[00:54:19] I'm confused.
[00:54:22] If you make music for a time, if you make music for. For. For a time, if the time is 20 years ago, 22 years ago, 23 years ago, how does the music get better if you did it then?
[00:54:42] So when you hear stuff like this, that's from that time when you think, I made this, I made this over 20 years ago.
[00:55:02] Over 20 years ago, I made that. I could still go on my old catalog and be like, I don't never gotta make another beat in my life. I got thousands.
[00:55:13] And some people might say this whack because, you know, niggas like trolling. Whatever. Some people could say, it's fine. Whatever you feel is how you feel. It ain't even about that. But how could I go make. Go to a beat that I made in 1998, 99, which was over 25, 26 years ago, and still be here.
[00:55:41] Where these masterpiece at?
[00:55:45] I'm saying all this to say to y'all because it's about me. That's why it's called Doggy Diamonds. No filter. Some people, like you, always talk about yourself.
[00:55:57] It's called the Joe Button Podcast. He don't talk about himself.
[00:56:02] It's not about him and his takes on how he feel.
[00:56:06] I'm a person with experience in the culture.
[00:56:10] If you listened and you stop looking at whether I have on the same hat that I have all the time, or I got on the same black shirt, which I got like 90 of them, like Gargamel, and you could see past the thing that you looking at what you think you see, you would really know what it is.
[00:56:34] Because some of us are covert. How we move.
[00:56:38] Some of us know the money, the jewelry, the flash, the fame is all here, is all here.
[00:56:54] And when we do, the knowledge, when we speak, that's the wisdom that many of us obtain.
[00:57:00] And it's up for you to have understanding. It ain't for me to give you the understanding. That's on you.
[00:57:08] But I was around the fake masterpiece, and I could sit here in front with the best of them. Come on, man. Jewelry game been up the paw.
[00:57:18] I live how I live. But what that got to do in anything you. What I eat tomorrow ain't gonna make you full.
[00:57:27] What I drive ain't giving you no ride.
[00:57:31] Get what I'm saying?
[00:57:33] But many of you, and I'm saying this to you, I want you to hear me.
[00:57:40] Don't let what those fake masterpiece do to you knock you off your course.
[00:57:49] Don't let that stop you. See, many things is gonna attempt to impede your progress.
[00:58:02] But when you can't go through something, you go around it. You can't go around it. You go under it. You can't go under it. You go over it.
[00:58:12] The goal still the goal.
[00:58:16] The goal still the goal.
[00:58:20] I seen Kid Creole, who's locked up robin to the 50 Cent beat. Do you see that on. Did y'all see that on Rap City? You heard his rap on that? He's like, I got the gun up in your face. I'm like, yo, come on, man. Like. But who am I to say.
[00:58:42] You got that slick back, you gotta chill.
[00:58:47] Who am I to say that? I just ain't gonna listen to it. A lot of y'all like the Red man album.
[00:58:54] It ain't for me to say, yo, he gotta stop.
[00:59:00] It might be therapeutic for him. I don't know. I just ain't gonna listen to it.
[00:59:06] And I got my reason. See, people be not really paying attention to some of the things I say. Because when you could get out your feelings, you could listen. If you listen to people without feelings, and you listen to logic and you just listen to what they saying, and you take feelings out of it, it starts to make sense. So when a man tell you, yo, I've been celibate and not getting high, and. And then one of his songs is about getting high, what did that say about him? What does it say about you? Because if he's making songs about Getting high in 20, 25, getting high is one of our biggest problems right now as a community. Not mine. I don't get high, but I'm affected by who gets high, you know, because when people get high, they make poor decisions. You may. You, you. You tell me who made a smart decision when they was drunk. You tell me who did the right thing when they was drunk.
[00:59:58] You understand what I'm saying?
[01:00:00] Look, and you can't even say nothing without saying somebody's hating because y'all been tricked by Diddy, who told you, when you were saying you didn't like that he was calling you a hater. And then you will play a hater and all that. So player hating just turned into regular hating. So now you can't even express your displeasure. Anything Now. Now it's, I'm you hating.
[01:00:25] For example, I say it again, if I don't eat mayonnaise on my food, which I don't. If I don't eat ranch, if I don't eat no white, and I tell you that, you'll say, what you hating on ranch for?
[01:00:43] It's called preference.
[01:00:45] It's not hate.
[01:00:47] It's called preference. Now, I just told you why I don't like some hating is. Yo, I don't like that album. Why? Oh, no, I just don't like it. That's hate. But when a person has a sound, right reasoning why they don't like something that's not hate. It's called preference.
[01:01:10] But who made up the hating? You hating on you hating you hating.
[01:01:16] That comes from Diddy.
[01:01:23] So Master P did great things.
[01:01:29] Master P is icon in our culture. Deserve all the accolades. He put all his family on, put a lot of his friends on, even made us like that mystical. I know what the. He was talking this, said he was a tarantula.
[01:01:45] Tevin Campbell. Break it down. Braids. And remember, they had that Tevin Campbell haircut. The. The. I think it was the Parenthood, one of them. They had the haircut like that. This mystical.
[01:01:58] I was listening to that until he said he was straight out the boot camp. Then I was like, oh, you ain't from the boot camp. But when Master P did, we probably never see it again. But it was a blueprint that he laid down that a lot of people copied. And it didn't work.
[01:02:19] It didn't work.
[01:02:23] All I'm saying is that if you ran into that, into your life, it might be 20 years ago, 30 years ago. Some of that vintage shit you got, culture might need that because that's what they are trying to duplicate. Now. Look at what they sampling. They sampling stuff from 10 years ago, acting like it's new. You did. I mean, acting like it's old school.
[01:02:53] They really recycling and regurgitating records now. They not even digging no more. They taking your record, sampling it with drums and all, putting some. Some drill drums on top of it and acting like it's a new record.
[01:03:10] So for people tuning in, people who caught this from the beginning, this was never a diss on Master P. This was never, you know, desecrating his name, saying that he did anything wrong. He did everything right because it worked.
[01:03:23] He may even made us listen to Romeo. Romeo actually was sounding all right at one. He made us listen to Silk the Shocker.
[01:03:32] I always thought Silk the Shocker was trapped, but I ain't going front. They got some. They got some classics out of that no Limit. Because what's one of the biggest classic them other down from that, that see murder that. Come on. I don't care. I don't care what party you in. I don't care what event you in. I don't care what's happening. That come on, everybody gonna move, move with that.
[01:04:01] That C murder. Come on.
[01:04:04] You gonna move when that come on. It was so bad. I like the Snoop with that. I liked it. It's still with that top follow top what he said top dollar. With my dog fleece collar dipping in my blue Impala D P G. I was like that, like that. I was like, I kind of like this.
[01:04:23] I was like, yo, I kind of like this. Oh no, oh no, this ain't Snoop. Look. And Master P made him change his name from Snoop Doggy Dog to Snoop Dogg. You know that, right? That Master P did that. And if you watch my interview with fiend on this channel, Master P had a lot of game. Not only was he a hustler on the street, the difference between him and he's fake masterpiece was he came from retail. He had a record store. Record store teaches you about retail. You learn how to order, you learn how to. So now you learn about retail.
[01:05:10] But Master P, you know, besides Master P sometimes was on some fake Tupac though. He was like, I miss my homies and all of that. He thought he was duplicating Tupac and all that. But you know, he gave us Mia X, gave us Fiend.
[01:05:29] This was releasing like 30 albums a month. And you don't remember the source? 050 China Brim in the building. You remember the Source, how the whole magazine was Master P.
[01:05:44] What the hell is this?
[01:05:46] The chain enable and all this. I'm like, is these people. They all had them that Artwork, you know, they didn't think about the things that they innovated. The artwork, it was done by pen and pixels. And then I remember when I first saw Cash Money, I was like, fake ass, masterpiece stuff. That's what I ain't going from. When I first saw Cash Money, I was like, with this. Remember they had like. They had, like, pit bulls in the head, had rubies in his eyes and like that. These were sitting at a chair. Everything was fake and green sky. I'm like, yeah. Master P changed his name to Snoop Dogg. When he was on death row. His name was Snoop Doggy Dog.
[01:06:30] Change his name to Snoop Dogg.
[01:06:33] Remembered all that s in the Snoop Dog. Before that, it was Snoop Doggy changed it.
[01:06:43] But when I first saw Cash Money, I was like, fake ass. No limits it to that. Han came out.
[01:06:55] And my favorite thing about huh is one line.
[01:07:03] Because to me, Juvenile was the star. We didn't know Lil Wayne was going to be this Little Wayne because he was like, that's how he first started. So I was like, all right, this little nigga's cool. Turk is cool. BG is cool. We didn't know BG had nine albums before they got a deal. But when this said you caught a trespassing charge, huh? When you was messing with them little bros, huh? That took. Yo, I used to just love that part. You know what I'm saying? I used to love that part. But Snoop even flourished over there. So I was like, damn, Master P.
[01:07:44] Anybody could flourish with him.
[01:07:48] Remember, lay low. All that was Master P.
[01:07:54] All that was Master P. So again, when the fake drug dealer into hip hop culture and thought he could take his crack dope money and make stars, everything up.
[01:08:19] So I went into that next show I'mma do Not tomorrow because it's my bond that, you know, I'm kicking back.
[01:08:30] But I gotta talk about how being in the gang also ruined the culture because you got gang bangers, you got gang members, you got gang affiliates.
[01:08:54] I've. Listen, let me tell you something.
[01:08:57] Dudes that I've known growing up, I know what they was a part of.
[01:09:05] They was rep. What they rep.
[01:09:07] Oh, yo, shout out to China Brim today. Yo, you Apollo, He Pisces gang, he's the 24th. I'm tomorrow the 25th. That's why I understand you. Some people don't understand. That's why. Maybe that's why I understand you. You know what I'm saying? But yeah, I'm tomorrow the 25th.
[01:09:24] So we have to talk about how being a fake Gang member ruined the culture. Because everybody at one point, like thought that was God body.
[01:09:42] The he became a Blood.
[01:09:46] I. I'm just. I just became confused after a while.
[01:09:51] Like, yo, I thought.
[01:09:53] Thought he was one of the Muslims.
[01:09:56] Yeah, because at one point you couldn't be both of them. You get what I'm saying? Like you, you couldn't be. You was either righteous or you was in them streets. Then it became a meshing of the two, and I'm all the way confused.
[01:10:14] Started becoming bloody supreme born all along. I'm like.
[01:10:21] Because at one point, the early days of the Bloods, everybody name was bloody something at one point, but that's early. So I was like, what the hell is going on? But they thought like the drug dealer, the gangster, rap gangster started taking over. And I could end on this note, out of nowhere, Lil Wayne was blood.
[01:10:46] Them had on blue bandanas. In the early videos, they used to wear blue bandanas.
[01:10:58] Tupac did too. Then after a while, it was mob.
[01:11:08] Anyway, yo, I appreciate all the birthday shout outs.
[01:11:13] I'm gonna have a good old time.
[01:11:16] I'm gonna eat, I'm gonna eat tomorrow. I appreciate y'all for joining me tonight.
[01:11:27] After tomorrow, I'm on your neck. If y'all didn't see my video with Lucky dawn, make sure you check out that Lucky dawn interview. I think it's very, very important culturally, if anybody ever had any health issues, if anybody have been in the penitentiary as a young kid from DFY to Spofford, the try on and all that, and you know, went to prison and you realize, yo, that was dumb. And then now you at a stage of your life where you a grown ass man and you responsible and taking care of your got to listen to people who've been through it and just say, yo, I did all that for what? Ain't no reward, you know what I'm saying? Ain't no reward. So shout out to my brother, Lucky dawn, man. Brownsville, Brooklyn in the building. Yo, man, I appreciate y'all for being here with me. YouTube ain't hating on me tonight. It seemed like if I got like a thousand people or something, right, they going, they gonna disrespect my. But you know, I'm glad that it's 500 people here. It's been 500 people here, but it's 500 real ones that they come on a little late. But yo, man, I. I appreciate y'all. I couldn't do nothing without y'all. And for anybody that received any information tonight, just make sure you hit the like button on the way out. Come back, Leave a comment Again, this video is no disrespect to Master P.
[01:12:44] He didn't do nothing wrong. He did everything right. It was the copycats that did us dirty. That's who I was addressing tonight. So with that, until next time.
