Diddy Cover Reveal1_1 Diddy Cover Reveal1_1

The VIBE Magazine COVER STORY: Diddy

YOU EVER WATCH a control freak mellow out? It’s fascinating. When said micromanager is Sean “Puffy” Combs, it’s an enlightening ordeal altogether. Sitting at trendy Asian eatery Philippe Chow in New York City, two days before LeBron James announces that he’s taking his show to South Beach, Combs has talking points: impact and legacy. “This ain’t a regular run,” says Combs of his two-decade laundry list of accomplishments. “I’m saying that in the most humble way possible. I’m me and I’m seeing it. Most times the impact of what you do you don’t even live to see it.”


He’s the only patron seated for the evening, lounging at a table that comfortably seats eight. This is clearly a Sean John zone. His voice remains even, but the arrogance skyrockets. “It trickles over into sports. It goes into the way the free agent negotiations are going. [Athletes] have that belief. But that level of confidence as Black businessmen wasn’t really there. Unforgivable swagger. That shit wasn’t there.”


Translation: Sean believes that his ambition has been infectious. In his “humble” opinion, his drive has taught the have-nots that not only can they have, but they can be gluttonous and acquire wealth rather than riches. Will it ruin his day if people don’t agree? Not really. But he’d still like the legacy to be accurately documented. His reactionary reflexes have given way to him thinking long term, which could be why he’s unfazed by trivial shots like 50 Cent’s claims of having nude pictures of his artist Cassie. He’s more interested in guiding careers—Rick Ross, Red Cafe and Dirty Money, among them. And really, he’d like to do square biz and have your kids’ kids respect him like his contemporaries admire Warren Buffet. That would truly be money in the bank. In the meantime, he wants to mellow with a plate of chicken satay and talk Diddy legacy.


VIBE: You have said that rap’s heavyweight class consisted of Jay-Z, Kanye West, Lil Wayne and Drake. Do you still believe that?

Diddy: Definitely. I feel like Drake is somebody that entered professionally in the heavyweight division. He didn’t come in as a middleweight, he didn’t come in as a light heavyweight, he came in as a heavyweight. He’s gonna be a force to be reckoned with for a while. He is the definition of a new age musical rapper . . . going forward a lot of rap artists are going to have [singing and rapping] in their repertoire.


What’s the ranking in that heavyweight division?

Jay, Kanye, Wayne and Drake.


Jay still No. 1?

Hands down as far as worldwide impact and due to this last album [The Blueprint 3]. He’s moved up in the rankings.


People don’t realize that you two are friends and not just industry acquaintances.

Over the years as we’ve grown, Jay and I have needed each other. We’ve needed to be able to pick up the phone and call somebody that can understand what each other was going through. We needed each other to motivate each other; we needed each other to push each other. We needed each other to support each other and also to challenge each other. He’s definitely been a great friend to me. There’s never been anything that I’ve asked him to do or he’s asked me to do that we really haven’t done for each other.


Give an example of when you had to pick up the phone and call Jay for assistance.

I wanted to do something game-changing with Sean John. And I just picked his brain. I did [a fashion line] before him but I think that business-wise he did a lot of things better than me. He picked the right time to get out and get his check, to sell his company. We sat on the phone and talked about itŃput our egos in our pockets. I didn’t see Sean John versus Roc-A-Wear. I just saw that my man over here is doing it [and I had] a couple of offers for Sean John. It was a beautiful conversation, ‘cause we’re sitting down at this restaurant and we’re talking about apparel. We’re not talking about music. It was a beautiful moment. Two quarter-of-a-billion dollar companies—just getting advice from your competitor. It was something that you heard rich White boys do.


Dr. Dre said that the last beat that floored him was “All About the Benjamins.” How does that make you feel?

It’s humbling. I was in the studio with Dre the other day. He started working on a record for me. Watching him as a producer is watching greatness. We had a lot of similar traits. It was like looking in the mirror. He would ask questions like, “How you feel about this?” People don’t really understand true producers want to know how you feel about things. We are some of the most observant people on the planet.

You’re a lot more into the music now than the last time we spoke.  

I was waiting to get a lot of inspiration from the outside and it just wasn’t coming. And I’m not knocking anyone’s hustle that’s out there. I just come from musical history that musically people gave more of themselves . . . I was able to go back and listen to all the great records that I made. I ain’t do it on purpose. Like sometimes I’d be in a club and the DJ was just throwing tributes and would go deep in the crates. I would be like, “Damn, I forgot that I made that one.” It just gave me a deep connection and another level of confidence for me to do me.


Are you feeling more comfortable writing on your own?

Yeah. I learned a lot more. I feel a lot more confident and free. On this album I wrote like maybe two or three records by myself. But I still like writing with somebody. It helps me. Not using it as a crutch, but I get better results from co-writing; having my own feelings and thoughts, and, you know, getting some help with it. I love the feeling of collaboration, community in the studio. I don’t like being the mad scientist and being in the room by myself.

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The Weekend Believes He Inspired Usher's 2012 Hit "Climax"

There's no denying The Weeknd's influence over today's string of moody/alternative R&B. The singer-songwriter has changed the scope of the genre with his mix of synths and dark lyrics but the artist believes he inspired one of the biggest artists in the genre in the process.

As the cover star of Variety's latest issue, The Weeknd discussed the success of After Hours, transitioning into mainstream music and his presence in R&B. While looking back on his classic 2010 mixtape House of Balloons, he noted how two years later he began hearing his sound in other artists.

“House of Balloons literally changed the sound of pop music before my eyes,” he said. “I heard ‘Climax,’ that [2012] Usher song, and was like, ‘Holy f**k, that’s a Weeknd song.’ It was very flattering, and I knew I was doing something right, but I also got angry. But the older I got, I realized it’s a good thing.”

But the resurgence of EDM in the early 2010s might've inspired Usher's hit single. "Climax" which went on to win the Grammy for Best R&B Performance in 2013, was produced by Diplo who looked towards house music and "Atlanta strip clubs" to create the track.

Speaking to The Guardian in 2012, Diplo discussed how he learned about Usher's musical palate which included an appreciation for genre-bending artists like Monsters of Folk and Grizzly Bear.

"The production actually started as a house thing with a chord progression that I wrote, but with some time in the studio alone, I was making a sort of "wildfire" beat out of it," Diplo said." The idea of pushing cut-off on a synth used so much in progressive house music but pulling back. I was making something like a minimal techno record with Atlanta strip clubs in mind."

He also shared how much Usher knew of his work outside of Major Lazer. "Usher knew about my first album on Ninja Tune, Florida," he added. "I was so surprised about how much these guys are into music beyond their normal lane. That is something that makes it very easy to work with him. Usher has the power to take a record into any lane. He's that big. He brought house music to the R&B crowds in America, and with "Yeah!" he brought synths to Atlanta hip-hop. I think he wasn't going to these producers for their sounds ... We all know what they do. Usher is a smart man, he has been doing this for long enough. He's using the producers instead of the other way around."

"Climax" ended up on Usher's Looking For Myself album, which played to all his strengths with dance tracks like "Scream," quiet storm jams like "Dive" and "What Happened To U" and the clubs like "Lemme See" with Rick Ross.

Legendary superproducer Max Martin also worked on "Climax" and would eventually work with The Weeknd on Beauty Behind The Madness standouts like "Can't Feel My Face" and "In The Night."

This isn't the first time the two have been compared to one another. The Weekend issued an apology to Usher in 2016 during the Billboard Music Awards after he mistakenly claimed to win the most awarded male R&B vocalist in the show's history. The Weeknd took home eight trophies including Top R&B Artist and Top R&B Album for Beauty Behind The Madness.

But Usher famously took home 11 trophies in the 2004 telecast for his magnum opus, Confessions including awards for Artist of the Year, Male Artist of the Year, and Hot 100 Song of the Year for "Yeah!".

Elsewhere in the interview, The Weeknd also explained his decision to release After Hours in the middle of the novel coronavirus pandemic. “Fans had been waiting for the album, and I felt like I had to deliver it," he said."The commercial success is a blessing, especially because the odds were against me: [Music] streaming is down 10%, stores are closed, people can’t go to concerts, but I didn’t care. I knew how important it was to my fans.”

The album amassed 2 billion global streams in its first week and debuted at No. 1 in the U.S., Canada, Australia, the U.K., Ireland, Sweden, Norway, the Netherlands, Belgium, Italy and New Zealand.

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Cast of 'Hamilton' Surprises Young Fan On John Krasinski's 'Some Good News' Show

John Krasinski has brought smiles to The Office Fans with the launch of his creative Some Good News show on YouTube but the actor took things to another level by reuniting the original cast of Hamilton to surprise a nine-year-old girl.

Aired late Sunday (April 5), Krasinski welcomed Aubrey to the show after her parents shared how their daughter watched Emily Blunt's Mary Poppins Returns after she was unable to fly to New York to see Hamilton on Broadway. While social distancing is a brief new normal, Blunt who is married to Krasinski popped into their Zoom interview to surprise Aubrey.

But the good news didn't stop there. Krasinski then promised Aubrey he would fly her family to New York to see Hamilton once Broadway opens its doors. And miraculously, he managed to reunite the entire cast where they performed "Alexander Hamilton."

Lin-Manuel Miranda, Daveed Diggs, Okieriete Onaodowan, Leslie Odom Jr., Anthony Ramos, Jonathan Groff and more shocked the 9-year-old, who was left speechless during the performance.

Elsewhere in the broadcast, Krasinski shared good news from around the world, including many fans making their own version of the show. Robert De Niro also shares the weather in a very De Niro kind of way.

Krasinski, who also stars alongside Blunt in The Quiet Place, created the Some Good News show to prove positive news always wins. His first guest was none other than Steve Carell with the two talking about the 15th anniversary of the iconic Office series.

Enjoy the good news above.

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The Weeknd Throws Around His Pain In New Video For "Until I Bleed Out"

The Weeknd’s new album After Hours arrived last month. Today (April 7), Abel Tesfaye shared the new music video for “Until I Bleed Out,” which is the closing track on the album.

The clip finds The Weeknd at a confetti-covered party in an old movie palace. As he struggles to stand upright amid all the  papier-mache, he finds that the ground is moving in circles.

After Hours follows 2016’s Starboy. Previous visuals from the LP include “Heartless,” “Blinding Lights,” “After Hours” and “In Your Eyes.”

The Weeknd has also shared a deluxe version of the album with three new bonus tracks — “Nothing Compares,” “Missed You” and “Final Lullaby” — as well as four new remixes from Oneohtrix Point Never, Chromatics, the Blaze and DaHeala.

After checking out what fans are tweeting about the video, watch the clip above.

The Until I Bleed Out video feels like an overindulgence of House of Balloons life. With The Weeknd trying to escape it and ultimately running towards a clean slate. pic.twitter.com/qDBNbeyPCE

— mars (@mar1narasauce) April 7, 2020

I can't get my shit together after watching Until I Bleed Out video. this Mv was so sad and heartbreaking.. the talent this man has is UNMATCHED. @theweeknd thank you for another masterpiece. pic.twitter.com/p39ilB3moq

— (@LdrYosemite) April 7, 2020

Alright The Weeknd got my emotions all Fuck up.. my soul hurts with this music video.. Until I Bleed Out is so powerful

— (@__rosae__) April 7, 2020

Until I Bleed Out by The Weeknd make you wanna cry in the shower. Brb pic.twitter.com/nCdhuZqNfv

— Deucalion (@___FRANKO) April 6, 2020

WEEKND i didnt get my xo tat yet but check out my drawing to 'until I bleed out' too... had my in my feels!!! pic.twitter.com/jJucqMKzOs

— Danny Walker (@skywalksxo) April 2, 2020

Watch the video above.

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