Funny No Limit ad from the Source in 1996

[TraceOneInfinite Flat Earther 96']

Ill post up a pic later this week... but on the No Limit albums in the Source they say Produced by Beatz by the Pound... Want Beatz?... and then has their phone number to call them for beats??

How corny is that?  Your advertising for a gold selling album like Ice Ceam Man and you put the phone number of the producer in the ad to sell beats to strangers?  Lol... you'll see what I mean once I post the pic

[⠀]

The game was different back in 96, people hustled instead of talking about hustling.

Look in the back, you'll see a tiny, postage stamp sized advert for Trick Daddy.

[TraceOneInfinite Flat Earther 96']

The game was different back in 96, people hustled instead of talking about hustling.

Look in the back, you'll see a tiny, postage stamp sized advert for Trick Daddy.

...There's a difference between hustling and bad taste and looking cheap (not to mention I would think they just ended up getting calls from a gang of Haterz or wannabe rappers trying to get put on)..  I know Master P never understood the difference, and who am I to argue considering the run of success he had from 96-99.  

I don't see the Trick Daddy ad.  I'm looking in the 2pac Commemorative issue Nov. 96.

Unfortunately I only have two Source issues from 96'.  The Dre cover I've had since 96, and now this Pac cover I won off EBay.  I used to have the Suge cover when it came out but lost that one while moving from place to place...

[Sccit]

they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.

[TraceOneInfinite Flat Earther 96']

they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.

No Limit may have taught a Dogg new tricks, but they were all bad ones.  No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.  Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.

...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.

Suge Knight >>>>>>>> Master P

[Sccit]

they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.

No Limit may have taught a Dogg new tricks, but they were all bad ones.  No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.  Snoop's success at Dogghouse was a result of leaving the South, and getting back in touch with Dre and local homies from the LBC that shared the same musical vibe and vision as Snoop.

...Much love to Dre and Suge Knight for maintaining Snoop and the Dogg Pound's artistic integrity while they were on Death Row.

Suge Knight >>>>>>>> Master P

master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.

if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.

[BIGTIMELA]

they were independent at this point....this is actually how they came up, and they taught snoop the same values, which is why snoop was able to be successful wit dogg house records. bay area hustle.

No Limit may have taught a Dogg new tricks, but they were all bad ones.  No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.  

That might be the stupidest thing I have read on this site today lol. Its about growing and expanding, every rapper should be a business man first and an artist second.

[TraceOneInfinite Flat Earther 96']

No Limit may have taught a Dogg new tricks, but they were all bad ones.  No Limit taught Snoop how to stretch himself too thin, water down the industry, sell out, and become a business man first and artist second.  

That might be the stupidest thing I have read on this site today lol. Its about growing and expanding, every rapper should be a business man first and an artist second.

It ain't about the paper, it's about the flava!!

[TraceOneInfinite Flat Earther 96']

master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.

if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.

Come on man... honestly, how hard is it to run a rap label?  You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors?   All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.

Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995.  That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse.  The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.


...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay.  But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.

[Hack Wilson - real]

they were independent at this point....this is actually how they came up

yeah, No Limit and Cash Money were legit hip hop labels before Master P's music blew up and Wendy Day helped Ass Money sign with Universal and replace their entire roster with Birdman and the Wack Boys

[Sccit]

master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.

if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.

Come on man... honestly, how hard is it to run a rap label?  You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors?   All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.

Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995.  That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse.  The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.


...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay.  But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.

lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.

And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.

[GangstaBoogy]

No what Mike Jones did was corny. What Master P did was innovative promotion (remind yourself this was before twitter / facebook).

[TraceOneInfinite Flat Earther 96']

lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.

And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.

Stay in your place, youngsta... no offense but I don't think you are even old enough to correctly recall the Death Row era.  That's why you always big up Snoop's Doggfather album—because like unsuccessful sex with Oprah—you came late.  The LBC Crew did have an impact, "Beware of My Crew" was a successful single and video for the Thin Line Between Love and Hate soundtrack.   The album was still a work in progress, in those days everything had to meet Dre's high standards, and after Dre it had to meet Suge's standards, which were also very high.  It's called quality control, something Snoop has never had since his days at Death Row.  

Snoop says in his 98' cover feature with the Source that Suge and Dre always counciled him about not spreading himself to thin and to stay in house.  Snoop said he learned from cats like Puffy and Master P that there was no such thing as overexposure.  Puffy and Master P are hardly the people you want to learn from when it comes to artistic integrity—they may know business, but the quality suffers.

Any rapper of Snoop's stature can easily secure some distribution for a record they want to come out.  So you ain't said nothin but a word to say "look at all the records Snoop put out after Death Row".   He only had two quality records at Dogghouse, Eastsidaz debut and follow up, and neither would of been close to Death Row standard.

Like I said, a Dogg may have learned new tricks at No Limit, but that doesn't mean all of them were good.  He may have learned a thing or two about running a label and putting out records, but he also lost credibility and artistic integrity.

...as for the Bay, again, stay in your place.  Your not a Pac historian, your not even one of his biggest fans even here at the Dubcc.... do your research.  Do you even know why 2pac got into hip-hop?  Do you even know why 2pac started rapping?  2pac was an emcee long before he hit the Bay, junior.... 2pac was asked in an interview why he became a rapper, do you even know what he said?  He said that he had to move around a lot growing up, that he was sort of like a nomad, and that Hip-Hop was the common denominator in all of his travels.  Put down the Mac Dre album for a moment, and go listen to "Ol' School", study Pac's life, and then get back to me

[bouli77]

master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.

if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.

Come on man... honestly, how hard is it to run a rap label?  You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors?   All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.

Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995.  That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse.  The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.


...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay.  But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.

lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.

And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.

word,

the difference between Suge and P as far as Snoop is concerned is Suge didn't want Snoop to make his own money, he wanted to keep using him as his cash cow and not paying what he was actually due but instead threw him a few bones (cars, houses, etc.). Snoop didn't have his own publishing company while on Death Row, so he basically was getting pimped by Suge. and Doggystyle Records failed miserably cause Snoop hadn't been schooled properly by Suge while he was sitting on g-funk gems.

Master P on the other hand was pimping most of his roster, including his brothers, but did Snoop right. he helped him found his label, set up his publishing company and gave him a decent contract on which Snoop could eat off of royalties. and if you listen to Snoop on Tha last Meal and other songs from the same era, he gives a lot of credit to Master P.

you can say a lot about Master P's music, but the blueprint he established along with non-profit organisations like Wendy Day's and other artists like E-40 helped switch the power between labels and artists. thanks to them and Wendy Day, a lot of artists were able to get fair, sometimes unreal contracts that were unheard of at the time.

if you want to read an excellent book which deals with, among other things, the shift of power between artists and labels (starting with Master P's and E-40's incredible multi million deals) I suggest you read Dan Charnas's The Big Payback, it's huge but it's really worth reading



http://www.dancharnas.com/

[Sccit]

master p taught snoop how to run a label, duno if u consider those "bad tricks", but it did help snoop out in more ways than one. dogg house woulda never been possible without the business acumen master p passed down to snoop, which P himself soaked from the bay.....also, while we're on it, 2pac soaked most his game from the bay as well, which is a major part of why he was as good as he was.

if master p was running a major label and was advertising beats in a magazine, that would be a different story. however, from an independent standpoint, anything goes when ur tryin to reach the top, and based on master p's rise to mainstream takeover post-this ad, i'd say he was doin it right.

Come on man... honestly, how hard is it to run a rap label?  You really think Snoop was sitting behind a desk, working behind a computer, and dealing with investors?   All Snoop did was hired a trusted businessman or lawyer to handle the business side of things while he hung out with his homies and recorded a couple of nice albums with the Eastsidaz, recorded a couple videos where they banged out some video hoes and smoked some high quality Kush, and then turned in the final product to a label rep at the parent label which was probably TVT.

Snoop was already doing his thing with Doggystyle Records and the LBC Crew as far back as 1995.  That shit with "Beware of My Crew" that came out on the Thin Line Between Love and Hate soundtrack was slammin' and better than anything that ever came out on Dogghouse.  The only issue was that they had so much quality control and bomb shit at the parent label, Death Row that projects like that got pushed back.


...as for the 2pac, Bay Area thing you mentioned... sure he got a lot of his game from the Bay.  But 2pac was the type of player that picked up game from wherever he went, whether NY, or Baltimore, or L.A., so let's not give the Bay too much credit... and besides that's kind of a separate topic we can discuss in another thread.

lol there's clearly a lot more to runnin a successful business than you know brodie..that's why doggystyle didn't release shit under suge, because snoop didn't have his business acumen right. Once he started fuckin with P, he learned how to get shit done, which suge didn't care for snoop to know.....p got snoop fed, and in turn, we got the post no limit snoop, where he was able to put out a lot of his own stuff and build on that.

And pac would definitely credit the bay for his game above all else.. LA towards the end of his career, but his entire style and image was bay bred.

word,

the difference between Suge and P as far as Snoop is concerned is Suge didn't want Snoop to make his own money, he wanted to keep using him as his cash cow and not paying what he was actually due but instead threw him a few bones (cars, houses, etc.). Snoop didn't have his own publishing company while on Death Row, so he basically was getting pimped by Suge. and Doggystyle Records failed miserably cause Snoop hadn't been schooled properly by Suge while he was sitting on g-funk gems.

Master P on the other hand was pimping most of his roster, including his brothers, but did Snoop right. he helped him found his label, set up his publishing company and gave him a decent contract on which Snoop could eat off of royalties. and if you listen to Snoop on Tha last Meal and other songs from the same era, he gives a lot of credit to Master P.

you can say a lot about Master P's music, but the blueprint he established along with non-profit organisations like Wendy Day's and other artists like E-40 helped switch the power between labels and artists. thanks to them and Wendy Day, a lot of artists were able to get fair, sometimes unreal contracts that were unheard of at the time.

if you want to read an excellent book which deals with, among other things, the shift of power between artists and labels (starting with Master P's and E-40's incredible multi million deals) I suggest you read Dan Charnas's The Big Payback, it's huge but it's really worth reading



http://www.dancharnas.com/

Good shit on havin common sense