When he started, he was assembling rappers in his orbit for low-stakes rap-offs. Khaled’s megamix cuts, filled with boldface artists, once had a certain novelty. Khaled aspired to fill a position that Combs once gave himself: “vibe giver.” “Solving the Mystery of What DJ Khaled Actually Does,” posited another, from 2016, in the Houston Press. “What Does DJ Khaled Do and Is He Good for Hip-Hop?” a Complex story from 2012 asked. His lack of involvement in the creative process became a running gag. He can’t rap and, until recently, he rarely produced, so “finding it” was often pegged as his sole talent. If you can’t make it, you gotta go find it.” He leans heavily toward the latter. His creative philosophy is exemplified by a quote that he gave to The Fader, in 2013: “If you can’t find it, you gotta go make it. in Miami, he amassed considerable connections. He studied Combs carefully and sought to make being “commercial” a personality. The desire to be “all on the record, dancing” is DJ Khaled’s entire ethos. Combs, he implied, disrupted the balance, and took the spotlight off actual entertainers he was standing where he shouldn’t be, in a place reserved for creators. He was drawing a line between being “real” and being “commercial,” and between the backstage impresario and the on-air talent. “Any artist out there that want to be an artist and want to stay a star, and don’t want to have to worry about the executive producer trying to be all in the videos, all on the record, dancing-come to Death Row,” he howled. At the 1995 Source Awards, Suge Knight, the thug mogul of Death Row Records, took to the stage to criticize his rival, Sean (Puffy) Combs, the founder of Bad Boy Records.
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