In the cutthroat world of hip-hop, where empires are built on beats and rhymes, the late DMX, born Earl Simmons, stood as a beacon of raw authenticity. Known for his unfiltered lyrics and gravelly voice, DMX was more than just a rapper; he was a truth-teller, a prophet of sorts, who consistently spoke out against the insidious undercurrents of the music industry. Today, in light of the spiraling allegations against Sean “Diddy” Combs, DMX’s past pronouncements about Diddy and even Jay-Z are resurfacing with an unsettling prescience, forcing a re-evaluation of the industry’s true nature.

The current legal storm engulfing Diddy, ignited by a lawsuit from his former protégé Cassie Ventura, has ripped open a Pandora’s Box of accusations, including sexual assault, trafficking, and a pervasive culture of abuse. As the allegations mount, the names of other prominent figures are being drawn into the narrative, with Jay-Z frequently mentioned. This unexpected connection between Diddy and Jay-Z in the public discourse has cast a spotlight on DMX’s earlier, often dismissed, warnings, making his words resonate with a chilling clarity.

DMX’s disillusionment with the industry was palpable, even evident in his own words: “A lot of the love I had for wanting to… be a part of [the] industry is not there anymore. I don’t even associate myself with the industry. I’m not an industry artist; I’m an artist in the industry”. This sentiment, expressed long before the current controversies erupted, speaks volumes about the darker realities he observed. He frequently alluded to the manipulative tactics employed by those at the top, a theme he explored in his 2005 song, “The Industry,” where he famously described label owners as “vultures”.

One of the most striking revelations comes from unearthed interviews where DMX directly implicated Diddy in exploiting artists. He spoke of Diddy “bending rappers over” and taking advantage of their talents and hard work. While the term “bending rappers over” was initially interpreted by some as a metaphor for financial and creative exploitation, the current landscape of allegations against Diddy suggests a far more sinister, and potentially literal, interpretation. DMX cited the example of The Lox, a group signed to Diddy’s Bad Boy Records, noting that while the signing was a “blessing,” it also came with a “curse”. He claimed Diddy “made them Jiggy and put them in suits and… made them write lyrics for him and took all that publishing”. This highlights a pattern of alleged artistic and financial subjugation that DMX keenly observed.

DMX’s personal experiences with Diddy further solidified his distrust. He recounted how Diddy initially rejected him for a deal at Bad Boy Records. However, upon learning of Def Jam’s interest, Diddy reportedly changed his tune, “practically begging him to work with him instead”. DMX, however, had already “caught wind of how things were behind the scenes at Bad Boy” and refused, famously stating he “wasn’t ready to get piped if you know what I mean”. This statement, too, takes on a new, more disturbing light in the context of recent events.

The narrative extends to Jay-Z, with DMX consistently viewing him as a problematic figure. Their relationship, which began competitively in the late 90s, was fraught with tension and a profound lack of trust. DMX perceived Jay-Z as a “shady character”, someone who feared competition and would go to extreme lengths to eliminate rivals. This perception intensified when Jay-Z became the president of Def Jam Records in 2004.

At the time, DMX was Def Jam’s biggest act, having released five consecutive number-one albums between 1998 and 2003. Yet, according to DMX, Jay-Z, upon assuming his presidential role, allegedly attempted to sabotage DMX’s sixth album, “Year of the Dog… Again,” by meddling with its release. DMX publicly expressed his frustration, questioning how an entire album could be produced, a single chosen, and a video shot, only for the label to suddenly claim “we don’t know” about its release. He believed Jay-Z’s motive was to “eliminate the competition” as Jay-Z reportedly planned his own comeback from retirement. This alleged betrayal led DMX to cut ties with Def Jam and sign with Columbia Records, a move that underscored his unwavering commitment to artistic autonomy over industry politicking.

DMX’s distrust of Jay-Z stemmed from a belief that Jay was willing to “trample on anyone just to cozy up with the big shots”. This aligns with broader accusations against Jay-Z, including those from Roc-A-Fella Records co-founder Dame Dash, who claimed Jay-Z “became someone else the moment he started to cozy up with these top bosses in the music business”. Dash specifically named Lyor Cohen, a former Def Jam president and a close associate of Jay-Z, as an influential figure in Jay-Z’s career. Jay-Z himself referred to Cohen as his “mentor” in his book, Decoded.

Lyor Cohen’s own controversial statements further illustrate the callousness DMX spoke of. In a 2018 interview at The Breakfast Club, Cohen expressed sadness about DMX’s struggles with substance abuse but, when pressed by Charlamagne Tha God about signing artists who promote such lifestyles, Cohen simply stated, “it’s just business”, admitting to an “opportunistic” approach driven by the need to “feed people” and “run a business”. In a shocking display of selective memory, Cohen even denied knowing Dame Dash, despite their lucrative history at Def Jam.

The connection between Cohen and DMX’s career sabotage becomes even more disturbing. Rumors suggest Cohen influenced Jay-Z to meddle with DMX’s sixth album due to their personal disagreements. The disrespect extended beyond career matters; at DMX’s funeral, Cohen, unable to attend in person, sent a recorded message where he referred to DMX as a “gremlin” and expressed no surprise at his death. These callous remarks from Jay-Z’s mentor underscore the very indifference and exploitation DMX railed against.

DMX’s unwavering commitment to authenticity and his refusal to “bend” or “get run over” by industry executives stands in stark contrast to the alleged actions of Diddy and Jay-Z. He was a champion for artists, advocating for creative freedom and fair compensation: “Look, I give you the music, you give my money”. His timeless warnings about the industry’s pitfalls, about artists being pressured to “sell their souls to lose their originality and their integrity for a paycheck”, resonate more powerfully than ever.

As the music world grapples with these uncomfortable truths, DMX’s legacy as a fearless truth-teller remains untarnished. His words, once dismissed as the ramblings of a troubled artist, are now viewed as vital revelations, shedding light on the darker corners of an industry often shrouded in glamour and illusion. Fans are now questioning what other skeletons may tumble from the closets of these powerful figures, reaffirming DMX’s prophetic vision and his enduring impact on the culture he so fiercely loved and protected.