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On “Rap N—-as,” you rapped, “We the No Limit of the West, n—a.” No Limit had hip-hop by the neck in the 90s and the 2000s. What did Master P and No Limit’s movement do for you as an artist coming up?
They were dropping every week. You didn’t have to see the back and see the logo — you could see the artwork and know it’s a No Limit release. They branded an image. Master P was an innovator in so many different ways. Puff gets his credit. Dame and Jay get their credit. Ruff Ryders, Irv Gotti and Chris Gotti, they get their credit. P don’t get his credit, man.
Why do you think that is?
This is my opinion and I could be dead wrong: He got so successful in music. He was the first to do it the way he did it. He put his kids on — he put Romeo on. He turned into a businessman. He did films. He burned the game out. He maxed out.
I don’t know if he just got tired of the game. It’s like Jordan, like a “I’ve done everything, so what else I’ma do?” You know the accolades. He was worth a hundred mil in his 20s. He broke the bank. I think maybe he needed to take a breath, but when he took a breath, somebody else stepped into the forefront.
You know, we got short memories, man. All of us do. Puff figured out how to keep going without making music. I think P was grinding on his investments and put his kids on. Romeo came and popped. Then, Master P’s brother went to jail for a long time, and that affects you, when somebody that close to you catches a case. I respect what he did, man. He put his family on. He did everything like a boss. You gotta salute Master P.
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