The downfall of Bad Boy the label directly results in the way Sean Combs branded Diddy and Bad Boy as one. Any transition from record executive into artist is complicating, and his was no different. Diddy became the label’s flagship artist after the passing of B.I.G. Despite the platinum success he has had as an artist, he is no longer viewed as a top-notch producer in most circles. And even Combs himself will admit his limitations as a rapper and/or vocalist. His business acumen aside, he’ll likely never have the artistic appeal that a Dr. Dre, Eminem, Lil Wayne, Jay-Z or 50 Cent have with their respective labels or audiences. A feature on an Eminem or Hov project can be career defining; the same can’t be said about a feature on a Diddy project. The $75 Million records sold worldwide don’t sound as appealing when recent projects have struggled to consistently chart. Sean Combs the mogul has trumped Diddy as the artist since 1997. When Suge threw those infamous shots at The Source Awards about managers dancing in videos, it turned out to be bigger than East/West or Bad Boy/Death Row. With the exception of Janelle Monae, almost every artist released on Bad Boy had some sort of Diddy appearance. Careers were built on Diddy appearances and those careers rarely transcended beyond Bad Boy. The Bad Boy roster has again been rebuilt, and there might be a few lucrative years ahead. But based on history, there is no reason to believe that any sort of sustainable success will follow at Bad Boy.
""
Я понимаю, конечно, что всем плевать, но действительно интересная статья про закат Bad Boy и роль Шона Комбса в этом процессе. В частности, можно предсказать будущее Red Cafe, Machine Gun Kelly и French Montana.