1 00:00:00,480 --> 00:00:05,360 Speaker 1: Wake that ass up in the morning, The Breakfast Club Morning, 2 00:00:05,360 --> 00:00:09,280 Speaker 1: Everybody's DJ, Envy Jess hilarious, Charlamagne the guy. We are 3 00:00:09,280 --> 00:00:11,600 Speaker 1: the Breakfast Club. He got some special guest in the building. 4 00:00:12,119 --> 00:00:15,880 Speaker 1: We have Kim Osorryo, the legendary, the legendary Kim Osorio. 5 00:00:16,040 --> 00:00:17,360 Speaker 2: Welcome, Kim, good morning. 6 00:00:17,520 --> 00:00:20,680 Speaker 1: And also Malik bo He Welcome. How you feeling? Now? 7 00:00:20,720 --> 00:00:23,280 Speaker 1: They have a new documentary, Tale of the Tape. I'm 8 00:00:23,320 --> 00:00:26,040 Speaker 1: about to say we Tale of the Tape, How the 9 00:00:26,079 --> 00:00:29,440 Speaker 1: Mixtape revolutionized hip hop, which I'm an executive producer on 10 00:00:29,640 --> 00:00:32,159 Speaker 1: as well. Welcome, Thank you? 11 00:00:32,159 --> 00:00:33,320 Speaker 2: Did I mess up the whole time? 12 00:00:33,640 --> 00:00:33,919 Speaker 1: You good? 13 00:00:34,840 --> 00:00:35,640 Speaker 3: Thanks for having us. 14 00:00:35,840 --> 00:00:37,400 Speaker 1: Why do they still call him mixtapes? 15 00:00:38,520 --> 00:00:39,680 Speaker 2: Do they still call him mix taps? 16 00:00:40,360 --> 00:00:42,680 Speaker 1: Even to this day, there's no mixing. They not on tapes. 17 00:00:42,960 --> 00:00:44,880 Speaker 3: It's mixed shows now now it's mix shows. 18 00:00:44,960 --> 00:00:47,360 Speaker 1: Yeah, that's true. They were mixing back then. But it 19 00:00:47,440 --> 00:00:50,280 Speaker 1: talks about the I guess how the mixtape game and 20 00:00:50,320 --> 00:00:52,440 Speaker 1: how the mixtape started. So it starts from the beginning 21 00:00:52,520 --> 00:00:56,760 Speaker 1: from Bruce E b Uh DJ and parties and how 22 00:00:56,800 --> 00:00:59,240 Speaker 1: people started and how it became so popular. So before 23 00:00:59,240 --> 00:01:01,600 Speaker 1: we get into that, let's let's tell people who you are. 24 00:01:01,680 --> 00:01:04,120 Speaker 1: Let's talk with you, Kim. Kim, you had a legendary 25 00:01:04,120 --> 00:01:05,800 Speaker 1: career for people that don't know, tell them where it 26 00:01:05,840 --> 00:01:07,479 Speaker 1: started and everything like that. 27 00:01:07,680 --> 00:01:13,399 Speaker 4: It all started in the Bronx hip hop Now. Yeah, 28 00:01:13,440 --> 00:01:14,720 Speaker 4: you know a lot of people know me from the 29 00:01:14,720 --> 00:01:16,760 Speaker 4: Source magazine. So I was the former editor in chief 30 00:01:16,760 --> 00:01:19,280 Speaker 4: of the Source magazine. But today I work primarily in 31 00:01:19,280 --> 00:01:23,760 Speaker 4: television right, producing passion projects such as this one, but 32 00:01:23,959 --> 00:01:26,520 Speaker 4: also a lot of projects that you're familiar with. People 33 00:01:26,600 --> 00:01:29,160 Speaker 4: know me today from the impact New York love and 34 00:01:29,240 --> 00:01:31,880 Speaker 4: hip hop, growing up hip hop. You know your favorite 35 00:01:31,920 --> 00:01:33,320 Speaker 4: reality shows, that's right. 36 00:01:33,160 --> 00:01:34,720 Speaker 1: Emlie oh Man. 37 00:01:34,920 --> 00:01:38,400 Speaker 3: I'm a director of producer, owner, operator of Red Summer TV. 38 00:01:39,200 --> 00:01:41,440 Speaker 3: Been in the game a long time telling stories. Used 39 00:01:41,480 --> 00:01:44,920 Speaker 3: to work at every platform, produced for Rap City, one 40 00:01:44,959 --> 00:01:46,920 Speaker 3: O six, et cetera. But now I do everything through 41 00:01:46,920 --> 00:01:49,920 Speaker 3: my company and who was happy to have Kim come 42 00:01:49,960 --> 00:01:50,960 Speaker 3: aboard for this project. 43 00:01:51,280 --> 00:01:53,160 Speaker 1: Now, before we get to the mixed it, what do 44 00:01:53,160 --> 00:01:56,080 Speaker 1: you think about the landscaping of TV? Now? You mentioned 45 00:01:56,200 --> 00:01:59,320 Speaker 1: rap City, you mentioned music shows one O six in park. 46 00:01:59,600 --> 00:02:01,120 Speaker 1: We don't have that anymore. 47 00:02:01,240 --> 00:02:03,400 Speaker 3: Nah, I think it's all going away of the streamer. 48 00:02:03,800 --> 00:02:05,560 Speaker 3: To be honest, you know, you look at a kid 49 00:02:05,680 --> 00:02:10,000 Speaker 3: like conson it like he is what today's music cos 50 00:02:10,360 --> 00:02:12,080 Speaker 3: you know, he is what the rhap cities or the 51 00:02:12,080 --> 00:02:14,799 Speaker 3: one o sixes are like. He gets all the big guests, 52 00:02:14,880 --> 00:02:16,880 Speaker 3: they come there, they all come to him, and I 53 00:02:16,919 --> 00:02:20,320 Speaker 3: think that's you know, that's just uh, you know what technology. 54 00:02:19,800 --> 00:02:22,480 Speaker 5: Did and and academics breaking the music, yes, over the 55 00:02:22,560 --> 00:02:24,960 Speaker 5: last few weeks, and you know that's that's that's a 56 00:02:24,960 --> 00:02:26,280 Speaker 5: new new aspect of it. 57 00:02:26,560 --> 00:02:29,400 Speaker 1: And with you, Kim, you know, of course you were 58 00:02:29,520 --> 00:02:32,200 Speaker 1: running the Source magazine, and magazines were so big back then. 59 00:02:32,280 --> 00:02:34,280 Speaker 1: I remember you would wait for the new magazine to 60 00:02:34,280 --> 00:02:36,480 Speaker 1: come out to see who's on the cover and the articles. 61 00:02:36,520 --> 00:02:39,800 Speaker 1: But you don't have that, No, doesn't exist anymore. 62 00:02:39,880 --> 00:02:42,600 Speaker 4: Like you said, the landscape has changed, right, it's almost 63 00:02:42,639 --> 00:02:47,679 Speaker 4: like direct to consumer. People are talking to and as storytellers, right, 64 00:02:48,080 --> 00:02:50,200 Speaker 4: I think we've all kind of come up in this game, 65 00:02:50,680 --> 00:02:55,320 Speaker 4: watching consuming telling our favorite stories. Nowadays, you see how 66 00:02:55,360 --> 00:02:59,040 Speaker 4: easily the narrative can change, right, just because people can 67 00:02:59,120 --> 00:03:02,679 Speaker 4: get online and go and say whatever they want to say. 68 00:03:03,000 --> 00:03:05,480 Speaker 4: I was just having a conversation about it about a 69 00:03:05,480 --> 00:03:07,200 Speaker 4: story that I thought was fake out there. 70 00:03:07,520 --> 00:03:09,480 Speaker 2: So it has definitely changed. 71 00:03:09,520 --> 00:03:12,760 Speaker 4: I think we have to be better protectors of our 72 00:03:12,800 --> 00:03:14,880 Speaker 4: stories and our culture. That's one of the reasons why 73 00:03:14,960 --> 00:03:16,680 Speaker 4: we decided to do this documentary. 74 00:03:17,160 --> 00:03:18,959 Speaker 5: Well, nobody cares about the truth, and the lie is 75 00:03:19,040 --> 00:03:21,480 Speaker 5: more entertaining either, Right. So it's like these people that 76 00:03:21,520 --> 00:03:24,160 Speaker 5: are creating these thaty they'll talk about storytellers. They're aut 77 00:03:24,160 --> 00:03:27,280 Speaker 5: here telling these fictional tales that the internet loves. So 78 00:03:27,320 --> 00:03:29,280 Speaker 5: how can you compete if you out here wanting to 79 00:03:29,280 --> 00:03:29,880 Speaker 5: tell the truth. 80 00:03:30,400 --> 00:03:32,160 Speaker 3: I know it seems like it's all for clicks, but 81 00:03:32,200 --> 00:03:33,760 Speaker 3: you know, I'm a firm believer that you gott to 82 00:03:33,800 --> 00:03:37,040 Speaker 3: stand strong and what it is that you do, and eventually, 83 00:03:37,080 --> 00:03:40,240 Speaker 3: you know, you get the notoriity that you're looking for. 84 00:03:40,760 --> 00:03:44,080 Speaker 1: I agree. Now, let's break down the Tale of the Tape? 85 00:03:44,320 --> 00:03:46,360 Speaker 1: What made you guys want to do the Tale of 86 00:03:46,400 --> 00:03:47,920 Speaker 1: the Tape came? I didn't think you were a DJ. 87 00:03:48,320 --> 00:03:50,200 Speaker 2: First of all, don't play with me. I used to 88 00:03:50,200 --> 00:03:53,160 Speaker 2: have turntables, right, did you, Yes? I sold them. 89 00:03:53,240 --> 00:03:56,120 Speaker 4: I needed to sell them at one Christmas back in 90 00:03:56,160 --> 00:03:58,720 Speaker 4: the nineties that that I didn't have any money to 91 00:03:58,720 --> 00:03:59,200 Speaker 4: buy gifts. 92 00:03:59,200 --> 00:04:01,360 Speaker 2: I sold my turn table and I still regret it. 93 00:04:01,880 --> 00:04:02,840 Speaker 2: Why do you want to do that. 94 00:04:04,160 --> 00:04:12,360 Speaker 4: You think I can't dj. No, Like, I love DJing. 95 00:04:12,920 --> 00:04:14,000 Speaker 4: I'm a huge You don't. 96 00:04:13,800 --> 00:04:14,120 Speaker 3: Even know what that. 97 00:04:14,520 --> 00:04:17,320 Speaker 2: First of all, I was the first person that ever 98 00:04:17,360 --> 00:04:18,200 Speaker 2: put you in the Source. 99 00:04:18,279 --> 00:04:18,400 Speaker 1: Man. 100 00:04:20,240 --> 00:04:22,800 Speaker 4: They brought a very young DJ Envy to me and 101 00:04:22,839 --> 00:04:24,640 Speaker 4: said this is the next guy. 102 00:04:24,960 --> 00:04:26,600 Speaker 2: And I was like, oh, look at. 103 00:04:26,480 --> 00:04:30,280 Speaker 4: This page person, let us be my brother, and I said, 104 00:04:30,360 --> 00:04:33,120 Speaker 4: let me put and we followed your career at the 105 00:04:33,160 --> 00:04:35,680 Speaker 4: Source back then. Right, support it, But you know, I 106 00:04:35,680 --> 00:04:41,599 Speaker 4: think that during that time, right, DJing was such it 107 00:04:41,680 --> 00:04:43,159 Speaker 4: was such an important part of the culture. 108 00:04:43,200 --> 00:04:44,040 Speaker 2: I'm not saying it isn't now. 109 00:04:44,040 --> 00:04:46,839 Speaker 4: It's just that it doesn't get as much shine, right, 110 00:04:46,920 --> 00:04:49,760 Speaker 4: So I feel like it's our responsibility to do that. 111 00:04:49,839 --> 00:04:52,960 Speaker 4: So I'm a huge fan of DJing, like I've always been, Like, 112 00:04:53,440 --> 00:04:55,920 Speaker 4: I'm the type of person that sends playlists to people, 113 00:04:56,240 --> 00:04:58,520 Speaker 4: Like if you're like really close to me, you know 114 00:04:58,600 --> 00:05:00,880 Speaker 4: that about me, you know what I'm saying, and CNV. 115 00:05:01,000 --> 00:05:02,160 Speaker 2: You straight away. 116 00:05:02,160 --> 00:05:04,520 Speaker 4: Over the years, you ain't want to call nobody, so 117 00:05:04,560 --> 00:05:06,760 Speaker 4: I don't send you my playlist. But I'm that to 118 00:05:06,880 --> 00:05:09,120 Speaker 4: I build playlists, and I think that like that's almost 119 00:05:09,160 --> 00:05:11,159 Speaker 4: like the new mixtape when we think about it. 120 00:05:11,440 --> 00:05:13,080 Speaker 2: But I just love music. 121 00:05:12,839 --> 00:05:14,760 Speaker 4: I love DJ culture, and so it was a project 122 00:05:14,800 --> 00:05:15,760 Speaker 4: that I wanted to get down with. 123 00:05:15,880 --> 00:05:16,400 Speaker 3: Do you think. 124 00:05:16,320 --> 00:05:23,440 Speaker 5: DJ's having adapted to these new distribution platforms, meaning like 125 00:05:24,240 --> 00:05:26,200 Speaker 5: when you saw over the Pandemic, when d Nice was 126 00:05:26,240 --> 00:05:29,480 Speaker 5: on Instagram Live, people cared about DJing. 127 00:05:29,520 --> 00:05:30,039 Speaker 2: That was great. 128 00:05:30,120 --> 00:05:32,320 Speaker 5: So it's like now these DJs they want to do radio, 129 00:05:32,640 --> 00:05:36,040 Speaker 5: they want to do clubs. That's about it. Like why 130 00:05:36,080 --> 00:05:38,320 Speaker 5: aren't they Why aren't they on more Instagram Live? Why 131 00:05:38,320 --> 00:05:40,239 Speaker 5: they aren't the DJ screaming there make shures? 132 00:05:40,360 --> 00:05:42,599 Speaker 4: Well, some of these people that got DJ in front 133 00:05:42,640 --> 00:05:45,679 Speaker 4: of their name, let's keep it a hundred. They really 134 00:05:46,320 --> 00:05:49,680 Speaker 4: and they're not in it for the love of DJing, 135 00:05:49,960 --> 00:05:52,760 Speaker 4: right the way that we watched the real DJs get 136 00:05:52,880 --> 00:05:56,640 Speaker 4: on live during the pandemic and go crazy. 137 00:05:57,080 --> 00:05:58,600 Speaker 2: They're in it because. 138 00:05:58,400 --> 00:06:00,680 Speaker 4: And it's not just DJ's right, but they're in it 139 00:06:00,680 --> 00:06:01,320 Speaker 4: because of the fame. 140 00:06:01,560 --> 00:06:03,680 Speaker 2: There's a lot of cloud there's a lot of cloud. 141 00:06:03,440 --> 00:06:06,880 Speaker 4: Chases out there, so you have that where you know, 142 00:06:07,000 --> 00:06:10,160 Speaker 4: unfortunately people are are using it as a way to 143 00:06:10,520 --> 00:06:10,880 Speaker 4: get in. 144 00:06:10,880 --> 00:06:13,000 Speaker 3: And you want to brand attach wouldn't brand attached to 145 00:06:13,120 --> 00:06:14,680 Speaker 3: it to what they're doing? And if that's not it, 146 00:06:14,720 --> 00:06:16,840 Speaker 3: they don't want to do it. That's not how it 147 00:06:16,880 --> 00:06:20,080 Speaker 3: was originally when mixtapes were being conceived, when guys like 148 00:06:20,120 --> 00:06:22,040 Speaker 3: you know, the Brucey B's and Kick, they was doing 149 00:06:22,040 --> 00:06:23,960 Speaker 3: it for the love of the music strictly. 150 00:06:24,800 --> 00:06:28,159 Speaker 1: Now, you guys started this project years ago, many years ago. Yeah, 151 00:06:28,320 --> 00:06:31,320 Speaker 1: you could tell from j Cole that doesn't have a dreads. 152 00:06:31,839 --> 00:06:32,720 Speaker 1: Neither does Kendrick. 153 00:06:32,880 --> 00:06:36,440 Speaker 2: I don't think you got any facial definitely, I don't have. 154 00:06:37,000 --> 00:06:38,839 Speaker 5: The products were all the products that they used now 155 00:06:38,880 --> 00:06:42,840 Speaker 5: weren't out back then. Joe got the rewind and now 156 00:06:43,320 --> 00:06:45,520 Speaker 5: you know that wasn't around when y'all probably started. 157 00:06:46,160 --> 00:06:48,360 Speaker 1: So, so you know, why did it take so long 158 00:06:48,400 --> 00:06:49,599 Speaker 1: to actually get it out? 159 00:06:50,520 --> 00:06:52,240 Speaker 3: Like him said, this was a this is a passion 160 00:06:52,320 --> 00:06:57,200 Speaker 3: project right self funded. You know, it started because of 161 00:06:57,360 --> 00:07:01,000 Speaker 3: you know, me being a storyteller. Everywhere I went, you know, 162 00:07:01,080 --> 00:07:03,920 Speaker 3: interviewing and documenting, whether it was artists, whether it was 163 00:07:04,000 --> 00:07:06,960 Speaker 3: DJ's The connective tissue was always the mixtape. You know, 164 00:07:07,040 --> 00:07:10,520 Speaker 3: That's how everybody either got their start in some way, shape, 165 00:07:10,600 --> 00:07:12,680 Speaker 3: form or fashion. And I was like, we have to 166 00:07:12,720 --> 00:07:15,080 Speaker 3: tell his story. So a lot of some of those 167 00:07:15,080 --> 00:07:18,360 Speaker 3: interviews were on the back end. Of certain certain certain productions, 168 00:07:18,440 --> 00:07:21,280 Speaker 3: you know what I mean. And yeah, so you know, 169 00:07:21,320 --> 00:07:23,040 Speaker 3: we're very happy that, you know, we were able to 170 00:07:23,120 --> 00:07:25,400 Speaker 3: like fully craft into the story that. 171 00:07:25,400 --> 00:07:29,120 Speaker 1: It is now watching this, uh, you know, you realize 172 00:07:29,120 --> 00:07:31,880 Speaker 1: that Brucey B was kind of the creator of the mixtape. 173 00:07:32,360 --> 00:07:34,840 Speaker 1: He doesn't get a lot of the the accolades and 174 00:07:34,880 --> 00:07:37,280 Speaker 1: shine as he should. So how it was talking to 175 00:07:37,280 --> 00:07:39,200 Speaker 1: Brucey B. If you don't know who Brucey B was, 176 00:07:39,280 --> 00:07:40,800 Speaker 1: he was a d J. I don't know if he's 177 00:07:40,880 --> 00:07:43,160 Speaker 1: from Harlem and the Bronx because I always Harlem and 178 00:07:43,200 --> 00:07:43,960 Speaker 1: Bronx is the same to me. 179 00:07:44,000 --> 00:07:47,920 Speaker 4: I'm Queens, you know what with people from Queens, because 180 00:07:48,400 --> 00:07:50,440 Speaker 4: but we do claim Harlem, thank you very much. As 181 00:07:50,480 --> 00:07:53,360 Speaker 4: Bronx people. We also will claim the locks from the Ankers. 182 00:07:53,400 --> 00:07:59,640 Speaker 4: That's all part of like collectively we're uptown. Okay, Yeah, 183 00:07:59,800 --> 00:08:02,880 Speaker 4: so married the locks, Diddy Bronx were claiming all of that. 184 00:08:02,960 --> 00:08:05,920 Speaker 4: It started with us, remember, and then we let y'all. 185 00:08:05,720 --> 00:08:08,320 Speaker 2: And Queen's do what y'all did. Hey, listen, y'all took 186 00:08:08,360 --> 00:08:09,360 Speaker 2: it to a whole nother level. 187 00:08:09,360 --> 00:08:11,360 Speaker 4: I will give you that. I will give you that, 188 00:08:11,600 --> 00:08:13,080 Speaker 4: but I think he is from Harlem. 189 00:08:13,200 --> 00:08:13,360 Speaker 2: Right. 190 00:08:13,720 --> 00:08:16,160 Speaker 1: Yeah, So so talk about Brucey B and how it 191 00:08:16,320 --> 00:08:17,360 Speaker 1: how it was created. 192 00:08:18,200 --> 00:08:20,240 Speaker 3: I mean, first of all, shout out to Brucey B. 193 00:08:20,680 --> 00:08:23,520 Speaker 3: He was, you know, really really inviting. I just got 194 00:08:23,520 --> 00:08:25,480 Speaker 3: his number through a friend and gave McCall and said, look, 195 00:08:26,080 --> 00:08:28,040 Speaker 3: I want to I want to do your interview. Cool, 196 00:08:28,080 --> 00:08:31,480 Speaker 3: what time and where? You know, his story is so 197 00:08:31,560 --> 00:08:34,280 Speaker 3: dope because you know, he was that guy for from 198 00:08:34,320 --> 00:08:37,160 Speaker 3: the rooftop, right, that legendary club which I guess like 199 00:08:37,200 --> 00:08:39,480 Speaker 3: you know what the tunnel was for us something like that. 200 00:08:40,360 --> 00:08:43,160 Speaker 3: But it was a painstaking process to like actually record 201 00:08:43,240 --> 00:08:48,080 Speaker 3: his mixes and then spend the whole week duplicating one 202 00:08:48,280 --> 00:08:51,200 Speaker 3: by one by one, right, and then selling them that 203 00:08:51,240 --> 00:08:53,040 Speaker 3: next week. The only other way to make you know, 204 00:08:53,120 --> 00:08:55,440 Speaker 3: the ways he was making extra money was like hustler 205 00:08:55,480 --> 00:08:57,480 Speaker 3: dude saying, Yo, can you shout my name out? He's 206 00:08:57,559 --> 00:09:00,360 Speaker 3: charging extra for that, you know, And it's just dope 207 00:09:00,400 --> 00:09:03,240 Speaker 3: as we follow it in a linear process, so we 208 00:09:03,320 --> 00:09:05,800 Speaker 3: get to like, you know, you including you guys are 209 00:09:06,120 --> 00:09:09,640 Speaker 3: DVDs and shrink rap and whatnot, So it it's you know, it's. 210 00:09:09,520 --> 00:09:12,120 Speaker 1: Dope to see now I noticed Roan G wasn't on 211 00:09:12,160 --> 00:09:12,560 Speaker 1: the project. 212 00:09:12,840 --> 00:09:16,240 Speaker 3: That's correct. What happened in Roan g Ron had some 213 00:09:16,280 --> 00:09:20,400 Speaker 3: schedule issues. I'll say that, but you know, we could 214 00:09:20,559 --> 00:09:24,400 Speaker 3: not talk about you know, Raan g is an integral 215 00:09:24,440 --> 00:09:28,520 Speaker 3: part of mixtape culture. You know, I went to the 216 00:09:28,559 --> 00:09:31,040 Speaker 3: National Treasure of Morgan State. He used to come down 217 00:09:31,360 --> 00:09:33,880 Speaker 3: and battle with him in S and S we have parties. 218 00:09:34,240 --> 00:09:36,040 Speaker 3: That's actually where I met you the first time, you 219 00:09:36,160 --> 00:09:40,400 Speaker 3: coming through Morgan, going to Hampton one weekend and we 220 00:09:41,040 --> 00:09:43,439 Speaker 3: did some business with your mixtapes at a mixtape. 221 00:09:43,040 --> 00:09:45,760 Speaker 1: Spot back then, and I was gonna ask with all 222 00:09:45,840 --> 00:09:48,320 Speaker 1: those you know, what was one thing that you realized 223 00:09:48,320 --> 00:09:50,040 Speaker 1: that you didn't know? Like for myself, I didn't know 224 00:09:50,080 --> 00:09:52,960 Speaker 1: that Swiss Beats actually got his start by listening to 225 00:09:52,960 --> 00:09:55,240 Speaker 1: these DJs do intro and he wanted to create intros 226 00:09:55,280 --> 00:09:57,120 Speaker 1: like that, and that's how he actually got into production. 227 00:09:57,200 --> 00:09:58,600 Speaker 1: I didn't know that. What was one of the things 228 00:09:58,600 --> 00:10:01,040 Speaker 1: that you guys learned of for why of making this 229 00:10:01,160 --> 00:10:02,440 Speaker 1: that you were like, wow, I didn't. 230 00:10:02,200 --> 00:10:06,000 Speaker 3: Know that I go first. I think what I learned 231 00:10:06,559 --> 00:10:10,840 Speaker 3: most interesting was why k Capri exited doing mixtapes. I 232 00:10:10,840 --> 00:10:12,439 Speaker 3: didn't know had got so high for him. I just 233 00:10:12,480 --> 00:10:15,560 Speaker 3: thought it was a natural transition progression for him to do, 234 00:10:15,679 --> 00:10:18,240 Speaker 3: you know, deaf comedy jam and kind of go you know, 235 00:10:19,360 --> 00:10:22,440 Speaker 3: more of the business slash corporate route. But you know 236 00:10:22,600 --> 00:10:24,640 Speaker 3: that wasn't that wasn't necessarily the case because if he 237 00:10:24,720 --> 00:10:27,080 Speaker 3: was stuck around doing what he did, it ended up 238 00:10:27,120 --> 00:10:29,800 Speaker 3: like drama. You I think, so absolutely right. 239 00:10:30,360 --> 00:10:32,640 Speaker 4: And I think for me, besides the facts of course 240 00:10:32,679 --> 00:10:36,400 Speaker 4: that I learned that you was a lot more controversial spicy. 241 00:10:36,720 --> 00:10:39,080 Speaker 4: It was a lot more spicy in the original interview. 242 00:10:39,160 --> 00:10:41,360 Speaker 4: You know what I'm saying, Like you've toned it down 243 00:10:41,440 --> 00:10:42,960 Speaker 4: a little bit, and that's I think that's what you 244 00:10:42,960 --> 00:10:44,839 Speaker 4: had to do a mixtape culture, right, Like you had 245 00:10:44,880 --> 00:10:45,680 Speaker 4: to get out there. 246 00:10:45,840 --> 00:10:46,960 Speaker 2: It was very competitive. 247 00:10:47,000 --> 00:10:50,280 Speaker 4: But I learned a lot about drama situation and how 248 00:10:50,440 --> 00:10:54,040 Speaker 4: that changed the course of mixtapes and kind of steered 249 00:10:54,080 --> 00:10:57,240 Speaker 4: into the mixtape. I think as the younger community knows 250 00:10:57,280 --> 00:11:00,400 Speaker 4: it today, they don't really understand like how we viewed 251 00:11:00,400 --> 00:11:02,599 Speaker 4: mixtapes back then. How you went to the you know, 252 00:11:02,600 --> 00:11:05,439 Speaker 4: one hundred twenty fifth Street, Fordham Road, third Avenue to 253 00:11:05,440 --> 00:11:07,280 Speaker 4: get the tape if it came out on Friday, just 254 00:11:07,280 --> 00:11:09,400 Speaker 4: to hear all of the new cuts or hear the 255 00:11:09,440 --> 00:11:13,040 Speaker 4: new blends. They don't have that same perspective. And I 256 00:11:13,080 --> 00:11:15,920 Speaker 4: think the game changed around that time when you know 257 00:11:16,120 --> 00:11:20,000 Speaker 4: the FEDS rated Yeah. 258 00:11:19,559 --> 00:11:21,320 Speaker 5: What about I haven't seen it? Just so what about 259 00:11:21,360 --> 00:11:23,280 Speaker 5: Weigne in fifty? Did y'all speak to them? Because there 260 00:11:23,280 --> 00:11:26,480 Speaker 5: was a period where, like you know, DJ's, the artists 261 00:11:26,520 --> 00:11:29,400 Speaker 5: were probably more important to mixtape coaching than the DJ. 262 00:11:30,000 --> 00:11:34,280 Speaker 4: We wasn't getting no fifty in this stamn documentary. 263 00:11:35,720 --> 00:11:38,600 Speaker 2: We said it was self funded. We said it was self. 264 00:11:38,480 --> 00:11:40,160 Speaker 1: Fundered, you know what? 265 00:11:40,280 --> 00:11:41,920 Speaker 4: Yeah? And I think part of the reason to have 266 00:11:42,160 --> 00:11:43,839 Speaker 4: and be come in and work with us on this 267 00:11:43,960 --> 00:11:47,080 Speaker 4: documentaries was just to have a credible DJ be able 268 00:11:47,120 --> 00:11:49,720 Speaker 4: to help us shape our narrative and telling the story 269 00:11:49,720 --> 00:11:51,559 Speaker 4: and make sure there weren't things that we missed. 270 00:11:51,280 --> 00:11:54,439 Speaker 2: Because a lot of that inside stuff you don't know really. 271 00:11:54,160 --> 00:11:55,640 Speaker 4: What's going on, and then you come in with your 272 00:11:55,679 --> 00:11:57,640 Speaker 4: cameras and you're trying to interview people and they're not 273 00:11:57,679 --> 00:11:58,880 Speaker 4: really telling you the full story. 274 00:11:59,120 --> 00:12:00,880 Speaker 2: So Envy was our check and Boots so mvy. Why 275 00:12:00,880 --> 00:12:01,839 Speaker 2: didn't fifty do the doc? 276 00:12:01,920 --> 00:12:03,520 Speaker 1: Because I think with this doctor was mostly based on 277 00:12:03,520 --> 00:12:05,920 Speaker 1: the DJs, the actual DJ, but there was a period 278 00:12:05,920 --> 00:12:07,440 Speaker 1: what the artists did shift things. 279 00:12:07,640 --> 00:12:10,360 Speaker 4: And we talk about that a lot in there, right, 280 00:12:10,480 --> 00:12:13,080 Speaker 4: like the G Unit, like how they changed the game 281 00:12:13,240 --> 00:12:16,120 Speaker 4: dipset right, and that's where and that's why you know 282 00:12:16,160 --> 00:12:16,880 Speaker 4: we did get Kendrick. 283 00:12:17,160 --> 00:12:23,000 Speaker 1: Kendrick is in there, talks about the Jay cole on there, 284 00:12:23,040 --> 00:12:25,080 Speaker 1: talks about how he thought he would never do a mixtape. 285 00:12:25,120 --> 00:12:27,079 Speaker 1: He thought it was whack, and then when he came 286 00:12:27,160 --> 00:12:28,880 Speaker 1: up here in New York and seeing all the DJ's doing, 287 00:12:28,920 --> 00:12:30,200 Speaker 1: he was like, I have to do it. And that 288 00:12:30,280 --> 00:12:32,360 Speaker 1: was the creation of his mixtape. That's what blew him up. 289 00:12:32,760 --> 00:12:34,360 Speaker 5: Yeah, Like that's what set the foundation and. 290 00:12:34,400 --> 00:12:36,640 Speaker 1: That's what he talks about. So he talks about that. 291 00:12:36,679 --> 00:12:38,040 Speaker 1: So now let me ask you when it when it 292 00:12:38,080 --> 00:12:40,720 Speaker 1: comes to DJs, who do you guys consider the mount 293 00:12:40,800 --> 00:12:43,800 Speaker 1: rushmore of DJs mixtape? DJs I should say, oh wow, 294 00:12:44,240 --> 00:12:45,920 Speaker 1: take me out because I probably want to take me 295 00:12:46,040 --> 00:12:47,200 Speaker 1: out part of the project. 296 00:12:47,280 --> 00:12:47,560 Speaker 3: That's for. 297 00:12:49,360 --> 00:12:49,440 Speaker 5: You. 298 00:12:49,440 --> 00:12:53,280 Speaker 2: Give why I got to give my four Brucey, b K, Capri, 299 00:12:53,559 --> 00:12:57,920 Speaker 2: Ron G and DJ Clue what That's just what I 300 00:12:58,000 --> 00:12:59,920 Speaker 2: listened to, Okay, So leave drama. 301 00:13:01,280 --> 00:13:05,000 Speaker 4: Drama is comes later in my mind, Like that's much later. 302 00:13:05,080 --> 00:13:07,080 Speaker 2: And you're from the South, so that's different. I'm from 303 00:13:07,160 --> 00:13:07,560 Speaker 2: New York. 304 00:13:08,000 --> 00:13:11,880 Speaker 5: For me, it would be Clue, Drama, ron G and. 305 00:13:13,320 --> 00:13:14,920 Speaker 1: Probably relate. 306 00:13:15,000 --> 00:13:20,000 Speaker 3: Yeah, I think I definitely kick Capri Clue Drama. 307 00:13:22,840 --> 00:13:25,160 Speaker 1: H that's a wow. 308 00:13:26,600 --> 00:13:28,440 Speaker 2: You left op off and you said that that was 309 00:13:28,480 --> 00:13:29,400 Speaker 2: your favorite mixtape? 310 00:13:30,040 --> 00:13:31,360 Speaker 3: Is my favorite? 311 00:13:31,559 --> 00:13:36,360 Speaker 1: Isn't that ran? Yeah? I see it's bad because a 312 00:13:36,400 --> 00:13:38,400 Speaker 1: lot of people forget Brucey B. Right, they forget what 313 00:13:38,440 --> 00:13:41,200 Speaker 1: Bruce B did for mixtape he started, So just because 314 00:13:41,200 --> 00:13:43,400 Speaker 1: of that, Brucey B has to be on there right then. 315 00:13:43,520 --> 00:13:46,400 Speaker 1: For me, Clue is my mixtape savior. He's my god. Right, 316 00:13:47,040 --> 00:13:54,439 Speaker 1: He's not my dad. I said my credit man's not 317 00:13:55,520 --> 00:13:59,600 Speaker 1: his credit. He's not my dad. But he's definitely up there. 318 00:14:00,160 --> 00:14:02,000 Speaker 1: You can't take away what Drama did. Like, you know, 319 00:14:02,080 --> 00:14:03,559 Speaker 1: I joke with Drama all the time and we always 320 00:14:03,559 --> 00:14:05,880 Speaker 1: talk about whos better, Drama or Clue. But Drama was 321 00:14:05,960 --> 00:14:08,199 Speaker 1: one of the people that changed the game and when 322 00:14:08,240 --> 00:14:10,200 Speaker 1: it came to mixtape, like Clue changed the game how 323 00:14:10,360 --> 00:14:13,320 Speaker 1: he did it. But Drama was getting four artist mixtapes, 324 00:14:13,559 --> 00:14:15,960 Speaker 1: which wasn't done before. And what he was able to 325 00:14:15,960 --> 00:14:18,400 Speaker 1: do was, you know, some of these artist mixtapes are 326 00:14:18,400 --> 00:14:20,320 Speaker 1: better than their actual album. You know, if you think 327 00:14:20,320 --> 00:14:22,040 Speaker 1: about what he did with g Z, what he did 328 00:14:22,040 --> 00:14:24,080 Speaker 1: with Wayne, what he did with Gotti, what he did 329 00:14:24,120 --> 00:14:26,280 Speaker 1: with g Unit, what he did with for Real, what 330 00:14:26,320 --> 00:14:29,880 Speaker 1: do you do all those TI? TI especially, is like 331 00:14:30,080 --> 00:14:32,880 Speaker 1: you can't take that away from Drama And then it's 332 00:14:32,960 --> 00:14:36,480 Speaker 1: like that's kind of for but you can't forget Kid 333 00:14:36,640 --> 00:14:39,520 Speaker 1: or Ron, you know what I mean. So it's very difficult, right. 334 00:14:39,680 --> 00:14:41,960 Speaker 4: Right, Why y'all try to have Drama calling my phone? 335 00:14:42,000 --> 00:14:44,120 Speaker 4: Like he wasn't on my top four yeall was like, 336 00:14:44,200 --> 00:14:46,480 Speaker 4: you can't take everybody went against me. I was like, okay, 337 00:14:46,960 --> 00:14:49,800 Speaker 4: but you know what that was after I think my 338 00:14:49,880 --> 00:14:53,040 Speaker 4: impressionable years of when I was consuming mixtapes, right, So, 339 00:14:53,120 --> 00:14:55,520 Speaker 4: like I could see why in my mind, I look 340 00:14:55,560 --> 00:14:59,640 Speaker 4: at really like the forefathers more so of the culture 341 00:15:00,080 --> 00:15:02,080 Speaker 4: at that time when mixtapes were prevalent. 342 00:15:02,840 --> 00:15:04,520 Speaker 1: And when we talk about artist careers, you know, we 343 00:15:04,520 --> 00:15:07,120 Speaker 1: could talk about what artists and I think, like you said, 344 00:15:07,120 --> 00:15:10,360 Speaker 1: the artists really forgot about mixtapes. But we broke down 345 00:15:10,640 --> 00:15:13,280 Speaker 1: a lot of the artists that got their start form mixtapes, right, 346 00:15:13,440 --> 00:15:14,920 Speaker 1: Can y'all break that down a little bit? 347 00:15:15,000 --> 00:15:18,400 Speaker 3: Some of those artists, I mean of course there's uh 348 00:15:19,120 --> 00:15:22,680 Speaker 3: G Unit, and of course there's uh uh you know, Dipset. 349 00:15:23,160 --> 00:15:26,840 Speaker 3: But Joe, Joe butten talks about how he got his start. 350 00:15:26,880 --> 00:15:30,080 Speaker 3: He talks about Integral You and Clue World to his career. 351 00:15:30,400 --> 00:15:32,440 Speaker 3: He always says he did it first. He always says 352 00:15:32,480 --> 00:15:34,720 Speaker 3: he was that. But that's just Joe right, He said, no, 353 00:15:34,800 --> 00:15:37,440 Speaker 3: I did it first. G Unit and Dipset copied me. 354 00:15:37,840 --> 00:15:40,520 Speaker 3: But I think those move music and tapes, you know, 355 00:15:40,680 --> 00:15:43,040 Speaker 3: set the bar for what a lot of the other 356 00:15:43,160 --> 00:15:46,080 Speaker 3: guys did from the Cooles, Kendricks and especially Big Sean's. 357 00:15:46,400 --> 00:15:47,600 Speaker 5: When was the first move music? 358 00:15:48,720 --> 00:15:49,160 Speaker 1: Yeah, it was that. 359 00:15:50,160 --> 00:15:53,360 Speaker 2: I don't feel like as two thousand and what how 360 00:15:53,440 --> 00:15:54,080 Speaker 2: early was that. 361 00:15:54,320 --> 00:15:59,200 Speaker 1: Fifty of them was like late ninety But Joe used 362 00:15:59,240 --> 00:16:01,440 Speaker 1: to do the mixtapes with the Fab Poko. It was 363 00:16:01,480 --> 00:16:03,600 Speaker 1: the Desert Storm mixers that they used to do, which 364 00:16:03,600 --> 00:16:05,120 Speaker 1: I think was before the G Unit. But that was 365 00:16:05,160 --> 00:16:07,040 Speaker 1: the Desert Store mixtape what they all did together on 366 00:16:07,080 --> 00:16:08,360 Speaker 1: top of mixtapes beforehand. 367 00:16:09,040 --> 00:16:12,120 Speaker 5: But that was defin fifth album came out two you know, 368 00:16:12,200 --> 00:16:14,400 Speaker 5: to that mean he had been smoking the mixtapes. 369 00:16:16,760 --> 00:16:20,520 Speaker 1: Absolutely, Yeah, it was it was back then. Now it 370 00:16:20,560 --> 00:16:22,720 Speaker 1: will will there be a part two of the documentary 371 00:16:22,760 --> 00:16:24,320 Speaker 1: and then where does it go from part one? 372 00:16:25,080 --> 00:16:26,680 Speaker 3: There'll definitely be a part part two. 373 00:16:29,120 --> 00:16:31,560 Speaker 4: Am I blowing it up about what the plans are, 374 00:16:31,920 --> 00:16:33,120 Speaker 4: what we want to do with Tailor. 375 00:16:33,160 --> 00:16:33,680 Speaker 2: The tape is. 376 00:16:34,120 --> 00:16:37,280 Speaker 4: Kind of build off of different I don't want to 377 00:16:37,320 --> 00:16:40,400 Speaker 4: call them elements and hip hop. But we've talked about 378 00:16:40,400 --> 00:16:42,680 Speaker 4: our next project. I don't want to say it. I 379 00:16:42,680 --> 00:16:44,040 Speaker 4: feel like somebody's gonna jump on it. 380 00:16:44,080 --> 00:16:46,960 Speaker 2: So we just say, wait. 381 00:16:49,000 --> 00:16:50,040 Speaker 3: About who does it first? 382 00:16:50,040 --> 00:16:50,240 Speaker 1: First? 383 00:16:50,240 --> 00:16:52,720 Speaker 2: It's about who does it better. We wanted to DVD's next. 384 00:16:52,840 --> 00:16:54,960 Speaker 4: We want to do the DVD era next, right, because 385 00:16:54,960 --> 00:16:58,160 Speaker 4: that's a big part of the culture and how things 386 00:16:58,200 --> 00:17:00,960 Speaker 4: were shifting, you know when people remember when you used 387 00:17:00,960 --> 00:17:03,240 Speaker 4: to get the d v ds and actually like watch them, 388 00:17:03,360 --> 00:17:05,920 Speaker 4: and so that's the plan. But it's really to take 389 00:17:05,960 --> 00:17:09,920 Speaker 4: it into like these different pockets and study those pockets 390 00:17:09,920 --> 00:17:12,040 Speaker 4: in the culture because no one's really doing that anymore. 391 00:17:12,160 --> 00:17:14,080 Speaker 1: Yeah, I just I'm just glad that people get a 392 00:17:14,160 --> 00:17:16,600 Speaker 1: chance to see where it actually started from and when 393 00:17:16,800 --> 00:17:19,320 Speaker 1: DJ is really matter. And I think the DVDs is great. 394 00:17:19,359 --> 00:17:21,720 Speaker 1: I mean, you have to do French Montana where he 395 00:17:21,760 --> 00:17:24,280 Speaker 1: got his start. Of course, Smack you Smack was my 396 00:17:24,320 --> 00:17:24,760 Speaker 1: first fight. 397 00:17:26,000 --> 00:17:27,960 Speaker 2: Oh so you can't come on as executive. 398 00:17:27,960 --> 00:17:32,440 Speaker 1: Now we're cool. Now beat me up to what you think? 399 00:17:32,480 --> 00:17:35,880 Speaker 1: SMA beat me up to each other? 400 00:17:36,119 --> 00:17:42,240 Speaker 4: You said, shout out to. 401 00:17:42,640 --> 00:17:43,800 Speaker 1: Smack was my first fight. 402 00:17:44,920 --> 00:17:48,120 Speaker 2: But these are the things that that we have to document. 403 00:17:48,000 --> 00:17:49,199 Speaker 1: In front of my pops. That was. 404 00:17:53,119 --> 00:17:57,440 Speaker 5: This is crazy, Yeah, it's crazy. 405 00:17:58,359 --> 00:18:02,680 Speaker 3: Oh my gosh, Smack came man way way back. 406 00:18:02,960 --> 00:18:03,200 Speaker 2: Yeah. 407 00:18:03,320 --> 00:18:05,080 Speaker 1: Really that was me and him went to elementary school 408 00:18:05,080 --> 00:18:06,760 Speaker 1: and I do what I do. I think I threw 409 00:18:07,000 --> 00:18:09,679 Speaker 1: dirt in his face and I ran. He was like 410 00:18:09,680 --> 00:18:13,360 Speaker 1: the next day, I'm gonna beat your ass. And now 411 00:18:13,359 --> 00:18:14,040 Speaker 1: this is lunchtime. 412 00:18:14,240 --> 00:18:14,840 Speaker 2: Lunchtime. 413 00:18:15,880 --> 00:18:18,040 Speaker 1: I told my dad. I was like, I said, your dad, 414 00:18:18,040 --> 00:18:20,120 Speaker 1: I'm about to fight Troy. He was like, I'll be there. 415 00:18:20,640 --> 00:18:22,240 Speaker 1: I walked out and I seen my dad was like, 416 00:18:22,240 --> 00:18:23,639 Speaker 1: smack because he ain't gonna hit me in front of 417 00:18:23,680 --> 00:18:24,119 Speaker 1: my dad. 418 00:18:25,359 --> 00:18:25,760 Speaker 2: Wow. 419 00:18:26,119 --> 00:18:27,399 Speaker 1: One, that's how you got the name for the mix 420 00:18:27,400 --> 00:18:28,120 Speaker 1: of the DVD. Here. 421 00:18:34,200 --> 00:18:35,520 Speaker 2: You gotta get to jump on this one. 422 00:18:35,680 --> 00:18:39,040 Speaker 6: We're gonna start with that story, brother Troy, be good 423 00:18:39,040 --> 00:18:40,960 Speaker 6: after that, nig It's gonna be interesting to see too, 424 00:18:41,040 --> 00:18:44,879 Speaker 6: how DJ's got their music like those exclusives that they 425 00:18:44,960 --> 00:18:46,120 Speaker 6: used to put on their mixtapes. 426 00:18:46,160 --> 00:18:48,720 Speaker 5: Like, I always like hearing those stories. I like hearing 427 00:18:48,760 --> 00:18:50,760 Speaker 5: how artists used to get really pissed off and used 428 00:18:50,800 --> 00:18:53,119 Speaker 5: to be hunting the DJs down because of that. 429 00:18:53,200 --> 00:18:55,680 Speaker 3: Who talks about that? He talks about clue and envy, 430 00:18:55,880 --> 00:18:56,240 Speaker 3: How they. 431 00:18:56,240 --> 00:18:58,280 Speaker 1: Used to steal Who kid got kidnapped? Did he talk? 432 00:18:59,119 --> 00:18:59,960 Speaker 3: No, he didn't talk about it. 433 00:19:00,320 --> 00:19:06,720 Speaker 1: He got he got punk kidnapped him. The story they 434 00:19:06,760 --> 00:19:08,040 Speaker 1: said they were going to book them for a party 435 00:19:08,080 --> 00:19:09,520 Speaker 1: and who kid drove up to I think it was 436 00:19:09,560 --> 00:19:12,120 Speaker 1: the Bronx or Harlem and they told him to come, 437 00:19:12,200 --> 00:19:13,640 Speaker 1: you know, come to the car so we can give 438 00:19:13,680 --> 00:19:15,920 Speaker 1: you a deposit. So his man stayed in the car, 439 00:19:16,040 --> 00:19:17,399 Speaker 1: who kid jumped out and they threw him in the 440 00:19:17,440 --> 00:19:19,560 Speaker 1: back and they beat him up, beat him up for 441 00:19:20,080 --> 00:19:22,280 Speaker 1: playing an exclusive. So that was one of them. Well, 442 00:19:22,320 --> 00:19:24,480 Speaker 1: we used to get the exclusives a couple of different ways. 443 00:19:24,480 --> 00:19:27,639 Speaker 1: So the Biggie exclusive that I got was Biggie put 444 00:19:27,680 --> 00:19:30,359 Speaker 1: his car in valet and the valet guy took the 445 00:19:30,400 --> 00:19:32,280 Speaker 1: tape out and sold to me. So that's how we 446 00:19:32,320 --> 00:19:38,879 Speaker 1: got that wheeling Yeah, pray for my downfall. Wow, it 447 00:19:38,920 --> 00:19:42,119 Speaker 1: was unmixed, unmastered, the all of IRV gott the exclusives. 448 00:19:42,160 --> 00:19:44,520 Speaker 1: It was IRV got his intern They never paid the 449 00:19:44,520 --> 00:19:48,440 Speaker 1: interns back. That's old now. They never paid the interns. 450 00:19:48,840 --> 00:19:51,159 Speaker 1: So when he used to go to the studio, what 451 00:19:51,240 --> 00:19:53,119 Speaker 1: he used to do is used to play the dats 452 00:19:53,160 --> 00:19:55,480 Speaker 1: back in the day loud in the office, so everybody 453 00:19:55,600 --> 00:19:58,560 Speaker 1: would hear it and in turn took that one and 454 00:19:58,600 --> 00:20:01,359 Speaker 1: then uh, the engineers and the studio, so all these 455 00:20:01,440 --> 00:20:03,919 Speaker 1: artist would be disrespectful to the engineers and curse at him, 456 00:20:03,920 --> 00:20:05,120 Speaker 1: to yell at him. So you give him a couple 457 00:20:05,160 --> 00:20:06,879 Speaker 1: hundred back then it was a couple hundred dollars, two 458 00:20:06,920 --> 00:20:09,119 Speaker 1: hundred dollars, and they just leaking the record and they 459 00:20:09,119 --> 00:20:11,040 Speaker 1: would leak the records. That's how we got a majority 460 00:20:11,080 --> 00:20:11,800 Speaker 1: of our records. 461 00:20:11,840 --> 00:20:14,240 Speaker 2: Wow, that's an exclusive right there. 462 00:20:14,720 --> 00:20:18,080 Speaker 5: That's get How could the mixtapes legally be sold if 463 00:20:18,119 --> 00:20:19,720 Speaker 5: they weren't original songs. 464 00:20:20,640 --> 00:20:21,160 Speaker 1: Art for the game. 465 00:20:21,480 --> 00:20:24,200 Speaker 3: It was all illegal, was so even though stores you 466 00:20:24,320 --> 00:20:26,520 Speaker 3: used to go up in when the promotional use, so 467 00:20:26,880 --> 00:20:28,720 Speaker 3: that's what it always used to say, promotional use only. 468 00:20:28,640 --> 00:20:32,280 Speaker 4: Ye really yeah, wow, it was all illegal, And then 469 00:20:33,280 --> 00:20:37,320 Speaker 4: they would get bootlegged by the bootlegs, and so everything 470 00:20:37,480 --> 00:20:38,159 Speaker 4: was kind of like. 471 00:20:38,520 --> 00:20:41,720 Speaker 3: Call wholesales wholesal wholesalers. And that was the difference, I 472 00:20:41,760 --> 00:20:44,040 Speaker 3: would say, because when I met Envy, when he came down, 473 00:20:44,640 --> 00:20:47,520 Speaker 3: he had again his products were shrink wrapped, bar coded, 474 00:20:47,600 --> 00:20:50,399 Speaker 3: like somebody was keeping inventory. I was impressed. I was like, 475 00:20:51,119 --> 00:20:52,760 Speaker 3: you know, and you're good friends with my boys shot 476 00:20:53,440 --> 00:20:56,720 Speaker 3: and so in the Philippines, okay, yeah, yeah, and so 477 00:20:56,760 --> 00:20:59,240 Speaker 3: he would be like, he'd like, you can't bootleg my 478 00:20:59,240 --> 00:21:02,199 Speaker 3: boys stuff, and so we would just you know, have 479 00:21:02,240 --> 00:21:03,040 Speaker 3: to take the hit on that. 480 00:21:03,920 --> 00:21:05,960 Speaker 1: Yeah. So yeah, we figured out a way to do it. 481 00:21:06,000 --> 00:21:09,040 Speaker 1: But the labels would never complain because for the labels, 482 00:21:09,080 --> 00:21:11,399 Speaker 1: it was promotion for their artists emotion. So they wanted 483 00:21:11,400 --> 00:21:14,240 Speaker 1: their artists on the top six songs because it was promotion. 484 00:21:14,359 --> 00:21:16,760 Speaker 1: They wanted their freestyles. They wanted that, so they would give, 485 00:21:17,040 --> 00:21:19,440 Speaker 1: you know, mixtapes. And then we were getting so many 486 00:21:19,520 --> 00:21:22,280 Speaker 1: Rockefeller records. Jay Z and Dan Dash a protest to 487 00:21:22,320 --> 00:21:24,320 Speaker 1: say let's do these Rockefeller mixtapes, and that's how the 488 00:21:24,400 --> 00:21:27,359 Speaker 1: Rockefeller mixtapes came with Lenis and just became big cluded 489 00:21:27,480 --> 00:21:27,960 Speaker 1: want to do it. 490 00:21:28,680 --> 00:21:32,240 Speaker 2: So I was next, yep, yep. 491 00:21:32,600 --> 00:21:34,199 Speaker 1: I look forward to. So how can people see this 492 00:21:34,240 --> 00:21:36,200 Speaker 1: if they want to watch the full documentary, the full 493 00:21:36,280 --> 00:21:38,960 Speaker 1: DVD document or hip hop mixtape documentary, how can they 494 00:21:39,000 --> 00:21:39,320 Speaker 1: watch it? 495 00:21:39,480 --> 00:21:42,080 Speaker 3: Or they can go to uh it's on Amazon prompt, 496 00:21:42,600 --> 00:21:45,760 Speaker 3: it's on Verizon, it's on Spectrum. You can go to 497 00:21:45,920 --> 00:21:50,800 Speaker 3: tailordotapefilm dot com and get all the info, all the links, 498 00:21:51,119 --> 00:21:53,760 Speaker 3: and go to Red Summer TV on YouTube on ig 499 00:21:53,960 --> 00:21:54,840 Speaker 3: for behind the scenes. 500 00:21:54,960 --> 00:21:57,679 Speaker 1: Now, how difficult is for people behind the scenes if 501 00:21:57,720 --> 00:22:00,520 Speaker 1: they want to do their own documentaries to get you know, 502 00:22:00,560 --> 00:22:02,320 Speaker 1: on these platforms. How difficult is that? 503 00:22:02,920 --> 00:22:04,119 Speaker 2: It's very difficult. 504 00:22:05,200 --> 00:22:07,359 Speaker 4: I mean, you see, it took us a long time 505 00:22:07,480 --> 00:22:09,480 Speaker 4: to put it out, and we just really wanted to 506 00:22:09,520 --> 00:22:12,040 Speaker 4: get that done, get our first one in the can, 507 00:22:12,080 --> 00:22:14,520 Speaker 4: and then start working on the next ones. But even 508 00:22:14,880 --> 00:22:19,320 Speaker 4: as you guys know, in television, the networks, the streaming platforms, 509 00:22:19,359 --> 00:22:25,159 Speaker 4: like it's taking some projects three to four years to 510 00:22:25,160 --> 00:22:27,840 Speaker 4: get on the air. Right when I just did the Impact, 511 00:22:27,880 --> 00:22:29,560 Speaker 4: that was like one of the quickest turnarounds ever. We 512 00:22:30,200 --> 00:22:33,400 Speaker 4: shot it in September, October, November and it was out 513 00:22:33,400 --> 00:22:36,159 Speaker 4: by January. That was one of the quickest turnarounds I've 514 00:22:36,200 --> 00:22:38,560 Speaker 4: ever done on a show, right, Usually it's twelve to 515 00:22:38,600 --> 00:22:42,239 Speaker 4: eighteen months right just from the start to when it 516 00:22:42,280 --> 00:22:43,200 Speaker 4: actually comes out. 517 00:22:43,359 --> 00:22:45,000 Speaker 2: So it's hard. 518 00:22:45,119 --> 00:22:50,399 Speaker 4: Like you, documentaries are a labor of love. A lot 519 00:22:50,440 --> 00:22:52,199 Speaker 4: of people I want to do a documentary, like you 520 00:22:52,280 --> 00:22:55,120 Speaker 4: realize you're going to be spending your own money. 521 00:22:55,480 --> 00:22:58,960 Speaker 2: Time and time. It's not a lucrative thing. 522 00:22:59,040 --> 00:23:01,120 Speaker 4: You've got to really love what you're doing and love 523 00:23:01,320 --> 00:23:03,720 Speaker 4: the story that you're telling in order to stay committed 524 00:23:03,760 --> 00:23:04,000 Speaker 4: to it. 525 00:23:04,200 --> 00:23:07,720 Speaker 1: So, are our platform still looking for the I A should 526 00:23:07,720 --> 00:23:11,080 Speaker 1: get the beef, the love and hip hop type of things, 527 00:23:11,160 --> 00:23:13,159 Speaker 1: the fighting? Are they still looking for that or are 528 00:23:13,200 --> 00:23:15,480 Speaker 1: they Are they getting to a point where they're like, now, let's. 529 00:23:15,280 --> 00:23:16,679 Speaker 2: Just I think it's changing. 530 00:23:16,800 --> 00:23:17,119 Speaker 1: It is. 531 00:23:17,560 --> 00:23:18,600 Speaker 2: I do think it's changing. 532 00:23:18,680 --> 00:23:21,320 Speaker 4: I feel like just even in my pitch meetings that 533 00:23:21,359 --> 00:23:23,680 Speaker 4: I'm in, like I can tell by like what people 534 00:23:23,680 --> 00:23:28,040 Speaker 4: are looking for. We're producing a lot differently, right, we 535 00:23:28,080 --> 00:23:30,560 Speaker 4: have to find new ways to do that. So I 536 00:23:30,600 --> 00:23:33,960 Speaker 4: feel like true crime is very hot. Crime stories even 537 00:23:33,960 --> 00:23:36,760 Speaker 4: in our culture, right, everybody's got the story to tell, 538 00:23:36,960 --> 00:23:37,520 Speaker 4: you know, it's funny. 539 00:23:37,560 --> 00:23:38,359 Speaker 2: It's one of the things we. 540 00:23:38,359 --> 00:23:40,680 Speaker 4: Said when we were talking about the boocy B situation 541 00:23:40,920 --> 00:23:42,760 Speaker 4: was like, how the hustlers really put him in that 542 00:23:42,840 --> 00:23:46,800 Speaker 4: position right to start selling his tapes, and they're behind 543 00:23:46,840 --> 00:23:50,560 Speaker 4: a lot of stuff in hip hop right because the money. 544 00:23:50,720 --> 00:23:52,000 Speaker 1: Of course, that's. 545 00:23:51,840 --> 00:23:55,120 Speaker 4: Where it was coming from. So those stories have become 546 00:23:55,240 --> 00:23:58,120 Speaker 4: I think, or we've put them front and center, right, 547 00:23:58,160 --> 00:23:59,960 Speaker 4: and I think it's it's like going crazy on YouTube. 548 00:24:00,119 --> 00:24:03,240 Speaker 4: Now I can see every old street gangster story on 549 00:24:03,280 --> 00:24:07,399 Speaker 4: your right and everybody such and such from back in 550 00:24:07,440 --> 00:24:09,240 Speaker 4: the day. You just put that in a Google search 551 00:24:09,280 --> 00:24:13,040 Speaker 4: and it's you have like seven different storytellers telling the 552 00:24:13,160 --> 00:24:15,080 Speaker 4: story of this person who is. 553 00:24:15,040 --> 00:24:17,040 Speaker 2: Now in jail for you know, life. 554 00:24:17,320 --> 00:24:20,000 Speaker 4: So that's I think the networks are kind of like, 555 00:24:20,680 --> 00:24:24,160 Speaker 4: what's this about, you know, looking at that all right. 556 00:24:24,040 --> 00:24:28,119 Speaker 1: Well, definitely check out Tale of the Tape Revolutionized hip 557 00:24:28,160 --> 00:24:29,320 Speaker 1: Hop And you want to shout out at all the 558 00:24:29,320 --> 00:24:32,360 Speaker 1: EPs and everybody involved because they all listen all the time, 559 00:24:32,400 --> 00:24:33,600 Speaker 1: so make sure they give that love. 560 00:24:33,880 --> 00:24:38,280 Speaker 3: Go ahead, Malik, I mean there's Kim of course, thank 561 00:24:38,320 --> 00:24:41,200 Speaker 3: you so much, my brother DJ Envy, Yes, sir, I 562 00:24:41,240 --> 00:24:44,520 Speaker 3: would like to really thank our pr guy Sydney has 563 00:24:44,520 --> 00:24:49,080 Speaker 3: been amazing, and Nikiah Hicks who came on early, and 564 00:24:49,160 --> 00:24:53,679 Speaker 3: Jocelyn Rose and Joscelyn Rose Lines, who's an amazing, amazing director. 565 00:24:53,760 --> 00:24:56,600 Speaker 3: She did the movie Stand and she's one of our 566 00:24:56,640 --> 00:24:58,639 Speaker 3: producers EPs on this project. Thank you. 567 00:24:58,680 --> 00:25:00,879 Speaker 1: All right, Well, it's the Breakfast Club. Is Malik and 568 00:25:00,960 --> 00:25:03,800 Speaker 1: Kimmel Sorrio. It's the Breakfast Club. Good morning, wake that 569 00:25:03,920 --> 00:25:06,639 Speaker 1: answer up in the morning. Breakfast Club.