In recent revelations, Mase has shared insights into his time working with Sean “Diddy” Combs at Bad Boy Records, alleging dark experiences that ultimately led him to distance himself from the label.

He claims there was a concentrated effort to tarnish his reputation and legacy, while failing to give him proper financial compensation or professional respect. Mase says Diddy exploited artists, himself included, trapping them in restrictive contracts while he amassed wealth.

The story of Mase and Diddy’s rocky relationship spans decades, starting in 1996 when Mase signed with Bad Boy Records. Initially, things seemed promising. Mase adapted to Bad Boy’s commercial style, evolving from the raw street rapper he was with Children of the Corn to a smoother, more marketable artist. However, Mase alleges that this transformation, while commercially successful, was forced on him by Diddy and ultimately led him to feel disconnected from his artistic roots.

The rift between Mase and Diddy began widening following the untimely death of The Notorious B.I.G., a close friend of Mase and a fellow Bad Boy artist. Mase claims that Diddy pressured him to fill Biggie’s shoes as the next face of Bad Boy Records, a role he wasn’t prepared to embrace under the conditions Diddy imposed. Mase asserts that he was underpaid and that his contracts were restrictive, effectively leaving him “broke” despite his fame.

Mase eventually left Bad Boy and music altogether to pursue a career as a pastor, though he later returned to the industry and resumed his feud with Diddy. In a now-deleted Instagram post, Mase publicly accused Diddy of maintaining a double standard — promoting himself as a cultural advocate while keeping his artists in oppressive contracts. Diddy fired back, calling Mase a “fake pastor” and accusing him of owing Bad Boy money for an incomplete second album.

The allegations go beyond financial grievances. Mase has alluded to a darker side of Bad Boy’s culture, mentioning events he describes as “freak offs,” where Diddy allegedly held exclusive parties involving young, up-and-coming female artists. According to Mase, stars like Aaliyah and Brandy were exposed to questionable activities, events that parallel recent allegations made against Diddy by Cassie in her lawsuit. These incidents were known within the music industry, Mase says, and he left Bad Boy partly to escape the pressure to remain silent about them.

This alleged mistreatment isn’t exclusive to Mase; he claims several other artists faced similar exploitation. He cited the experiences of the late Black Rob and Craig Mack as examples of how artists in Bad Boy were left in vulnerable situations without financial security. Mase has maintained that leaving Bad Boy was one of his best decisions, as he believes it allowed him to escape the control Diddy exerted over his career and finances.

Moreover, Mase has hinted that other influential men in the industry, such as R. Kelly and Jay-Z, were also part of this circle that reportedly took advantage of Aaliyah and other young female artists. The revelations regarding Diddy’s alleged behavior have reignited discussions about the role of power dynamics in the music industry, raising questions about exploitation, abuse, and the measures taken to protect or harm the careers of vulnerable young artists.

In sharing his story, Mase has sparked broader conversations about industry ethics and accountability, casting a critical light on the practices of labels and the long-term impact on artists’ lives and legacies. His claims remain part of an ongoing debate about the treatment of talent in an industry that often values profits over people.