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His moment in the spotlight may have been brief, but <a href="spotify:artist:1wiBLzTI7z9RUwEpNPdFT6">Mase</a> certainly scored a number of hits during the late '90s alongside his mentor, <a href="spotify:artist:59wfkuBoNyhDMQGCljbUbA">Puff Daddy</a>, and attempted to capitalize on that success with Harlem World, his spin-off group. On paper, the group seemed incredibly promising: <a href="spotify:artist:1wiBLzTI7z9RUwEpNPdFT6">Mase</a> had first scaled the charts with his debut album of the same name, Harlem World (1997); he then remained omnipresent throughout the two years leading up to the debut of his group; and most importantly, he had two leading pop-rap producers, <a href="spotify:artist:59wfkuBoNyhDMQGCljbUbA">Puff Daddy</a> and <a href="spotify:artist:6nfYGe7IIuuP5bMY1jkJP6">Jermaine Dupri</a>, supporting him. However, this didn't translate into the sales <a href="spotify:artist:6nfYGe7IIuuP5bMY1jkJP6">Dupri</a> had surely hoped for when he signed Harlem World to his So So Def label, as the <a href="spotify:artist:49FeZO3eSrJs7oH7lYLU1r">Kelly Price</a>-featuring lead single, "I Really Like It," didn't cross over as much as expected and the album itself, Movement (1999), tanked quickly. This disappointment proved to be a fatal omen when <a href="spotify:artist:1wiBLzTI7z9RUwEpNPdFT6">Mase</a>'s long-awaited second album, Double Up, also tanked and signaled the end of the rapper's brief moment atop the often whimsical rap game. In retrospect, Movement remains somewhat noteworthy for its <a href="spotify:artist:0KuF7reCTOZwV7YJnHQqgr">Neptunes</a> productions, "One Big Fiesta" and "Not the Kids," which preceded the duo's remarkable rise to prominance, which came shortly thereafter. ~ Jason Birchmeier, Rovi
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