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Speaker 1: What's up?

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Speaker 2: Its way up at Angela yee, And it's so nice

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Speaker 2: to meet you, Kim O. Sorry, nice to meet you.

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Speaker 1: Malik Buoy is here. Nice to meet you as well.

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Speaker 2: No, I actually know both of them, and you guys

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Speaker 2: have been in this business, you know, for I thought

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Speaker 2: I was your co host.

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Speaker 1: Yeah, you're also my co host, Kim Osorio, I.

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Speaker 3: Feel like I feel like you replaced me. I feel

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Speaker 3: like I've been seeing beat out up here too much.

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Speaker 2: So may Know's okay, it's just not beat up what

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Speaker 2: may Know was before me. Yeah, okay, beat fair enough.

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Speaker 4: Shout out to both of them. I love them.

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Speaker 1: Yeah.

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Speaker 2: So both of you are journalists but also in this

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Speaker 2: TV world producing, directing all of that. So you also

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Speaker 2: both have this tail of the tape documentary that you

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Speaker 2: work down. Now, Malik, this was your baby first.

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Speaker 5: Right, yes, okay, well over ago.

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Speaker 2: I like when people do documentaries over a period of

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Speaker 2: time because sometimes I feel like people try to put

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Speaker 2: a documentary together and it's like a week of interviews.

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Speaker 2: You no, seriously, because it reminds me of when they

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Speaker 2: did Hoop Dreams. Oh yeah, remember who Dreams? And that

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Speaker 2: was over such an extended period of time. So you

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Speaker 2: got to see a lot of like the progress and

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Speaker 2: things that happened, and it's a different reaction when something

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Speaker 2: happens than it is later.

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Speaker 5: Yeah, who Dreams? It's funny.

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Speaker 6: Who Dreams one of the To me, it is one

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Speaker 6: of the greatest documentaries ever because its chronicles like four

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Speaker 6: or five years.

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Speaker 5: Our story is a little bit different. You know.

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Speaker 6: We were self funded, all out of pocket for this.

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Speaker 6: So in a perfect world, yes, we would love to

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Speaker 6: shoot for eight months, edit for four and then you know, release,

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Speaker 6: but that wasn't the case.

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Speaker 2: But you had footage that was from you know, never

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Speaker 2: before seen footage from back you know, like actually a

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Speaker 2: decade ago or more.

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Speaker 5: Yeah.

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Speaker 6: Yeah, just fortunate. You know our film like ninety percent

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Speaker 6: of it.

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Speaker 5: Right, like all out like yeah right, yeah, like.

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Speaker 6: The Kendrick stuff, the j Cole stuff, Future the first

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Speaker 6: time we did an interview, all that stuff that was

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Speaker 6: me with my camera, So you never.

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Speaker 2: Knew where Kenjuck was going to end up, where j

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Speaker 2: Cole was going to end up, you know, where Future

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Speaker 2: was going to end up. To see all of them,

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Speaker 2: like in the Top ten conversation.

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Speaker 4: I often say I should have been a camera person, Yeah,

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Speaker 4: because I would have had.

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Speaker 1: Imagine if I'm glad you didn't. Thanks, Anne, I'm so

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Speaker 1: glad you didn't.

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Speaker 4: Like you didn't need a camera with the type it.

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Speaker 2: Was kind of drama that was going on, right, But yeah,

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Speaker 2: you had definitely had the foresight to do that. Now,

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Speaker 2: when you were filming those interviews, they were just interviews,

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Speaker 2: like footage you were getting or did you know what

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Speaker 2: it was eventually going to be for?

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Speaker 6: At that point, I knew that I wanted to do

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Speaker 6: a documentary on mixtape and mixtape culture. I wasn't sure

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Speaker 6: how to tell the story, and that was the importance

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Speaker 6: of Kim being able to come in and say, well,

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Speaker 6: this is how we need to like craft this. When

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Speaker 6: I did the Kendrick shoot, he was in Atlanta just

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Speaker 6: kind of doing promo for his mixtape.

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Speaker 1: So he was that mixtape was big for him.

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Speaker 5: Right section eighty, Yeah, he was.

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Speaker 6: He was a co headliner Dom Kennedy was like him

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Speaker 6: and Dom Kennedy were headlining together. Big Sean to Chain

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Speaker 6: Side The Prince were openers, and DJ Drama was on

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Speaker 6: the marquee like he was just like DJ Drama and friends.

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Speaker 6: I forget what place in Atlanta we were out there

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Speaker 6: for Hip Hop Awards. So I was like, you know,

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Speaker 6: I've always been cool with drama from my Rhap City

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Speaker 6: producing days. He was like, Yo, you want to come

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Speaker 6: out to this event, DJ, let's go, And it just

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Speaker 6: happened to be that night. You know, just one of

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Speaker 6: those things that you know, you uh, just blessed to

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Speaker 6: be able to be a part of.

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Speaker 4: You never know where somebody's going to be And listen

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Speaker 4: tailor the tape.

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Speaker 2: It's all about the importance of mixtapes and how mixtapes

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Speaker 2: really helped create so many other offspring, so many offshoots

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Speaker 2: of it. Like I saw in a documentary they were saying,

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Speaker 2: people start off as a mixtape DJ, but you get

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Speaker 2: so engrossed in the music, it's inevitable you're going to end.

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Speaker 1: Up being a producer, yes, you know at some point.

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Speaker 2: And so some of our favorite DJs also ended up

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Speaker 2: being producers.

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Speaker 7: Right, Yeah, he's DJ Yah Swizz Right talked about it

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Speaker 7: in the dock, and I think, you know, the DJ

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Speaker 7: and the DJs.

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Speaker 3: Have served such an important like part of hip hop,

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Speaker 3: right even when you think about mixtapes and A and

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Speaker 3: Ring right, like they were the original A and R's

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Speaker 3: because they would you know.

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Speaker 1: They knew what was Gonn worked in the club, you know,

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Speaker 1: and another thing.

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Speaker 2: And this is so true because look kids today and

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Speaker 2: we'll talk about the legalities of what happened with mixtapes,

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Speaker 2: but even as far as getting the exclusives, that was

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Speaker 2: such a big deal.

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Speaker 1: And I saw you guys had Clue on there.

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Speaker 2: DJ Clue to me, like coming up, DJ Clue had

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Speaker 2: some of the I remember the Springtime stick Up.

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Speaker 1: I think it was called.

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Speaker 2: We all have those mixtapes from our era that were

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Speaker 2: like reminds us of a period of time where we

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Speaker 2: were rocking that mixtape the whole summer, you know, and

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Speaker 2: you just think about that, Like for for you, RELI,

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Speaker 2: you have to be a little bit.

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Speaker 1: I know you want to be unbiased.

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Speaker 2: But when you think back to like a mixtape that

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Speaker 2: had an impact or reminds you of something, what would

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Speaker 2: you say?

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Speaker 6: It would be, Well, my favorite mixtape is dou Op

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Speaker 6: ninety fives.

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Speaker 5: Okay, right, that just sets the tone for me.

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Speaker 6: During that time, I was at Morgan State University and

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Speaker 6: my TTZ brothers we were doing parties. I actually met

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Speaker 6: you know Envy, who was one of our koeps. He

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Speaker 6: was at Hampton coming through Clue would come and do parties.

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Speaker 6: S and S would come and do parties. Ron G

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Speaker 6: would come and do parties. But that mixtape to me

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Speaker 6: because it had you know, every artist from.

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Speaker 5: You know, the Five Boroughs.

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Speaker 6: You had guys that were signed that was going gold

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Speaker 6: and platinum that were still like, look, I want to

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Speaker 6: do this mixtape and do Op and his Crewku spit

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Speaker 6: like that's.

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Speaker 2: Just you know, yeah, those do what mixtapes and Tony Touch,

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Speaker 2: Yeah remember Tony.

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Speaker 4: I think Tony Touch.

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Speaker 3: I had the that was the first time I've shot

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Speaker 3: got shouted out on a mix.

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Speaker 2: Up they had, you know, but yeah, Clue and we

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Speaker 2: talked about how exclusive became a thing. You know, at first,

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Speaker 2: it was like okay, you know, putting together a mixtape

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Speaker 2: and then getting these.

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Speaker 1: You know, these big artists and.

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Speaker 2: Getting things first and step that wasn't even out, like

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Speaker 2: Who's Shatcha?

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Speaker 1: They talk about the biggie who Shatcha?

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Speaker 2: And sometimes artists would get really mad that you would

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Speaker 2: get that exclusive from them, like how did you get that?

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Speaker 2: But then it turned into okay, we're going to have

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Speaker 2: like all it was like an album of exclusives.

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Speaker 3: It evolved over the years, right all the way up

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Speaker 3: until when you get to the fifty cent era with

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Speaker 3: what he did with his mixtape, right, that really changed

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Speaker 3: the way artists promoted themselves and put themselves out there,

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Speaker 3: predating whatever the label wanted to do. So I think

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Speaker 3: like we kind of were telling the story of mixtape

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Speaker 3: culture from the exception to where it is today when

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Speaker 3: you get to streaming and playlists and that has become

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Speaker 3: the new mixtape.

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Speaker 1: Yeah, we all make our own mixtapes at home all day,

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Speaker 1: that's all I do.

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Speaker 2: It started up with the iPod, right, and then you

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Speaker 2: put together your iPod playlist.

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Speaker 1: And then next thing.

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Speaker 2: You know, but even thinking about how technology was so

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Speaker 2: different back then, so if you wanted to make a

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Speaker 2: mixtape and sell it, you actually had to physically like

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Speaker 2: make copies of a tape, a cassette tape.

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Speaker 5: Yeah, Bushy B talks about that.

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Speaker 6: You know, he was at the rooftop selling his mixtape.

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Speaker 6: So he would record his set on one week and

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Speaker 6: then the next seven days before he gets back there,

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Speaker 6: he's literally duplicating it one by one with a machine

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Speaker 6: and going back and selling them. So and then you know,

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Speaker 6: you fast forward to Clue Envy, who then have like

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Speaker 6: ten machines and DVD DVD duplicators, and you know, they

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Speaker 6: figured out a real distribution system for it.

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Speaker 1: We're gonna figure it out, they did.

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Speaker 3: Like I used to actually have a mixtape mag I

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Speaker 3: don't think I spoke about this before, where these guys

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Speaker 3: who were duplicating mixtapes. Listen, it was it was a period.

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Speaker 3: I had a mixtape magazine. Fabulous was on the cover,

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Speaker 3: like you know, we we were putting it out. But

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Speaker 3: they were they were doing what they were doing with mixtapes,

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Speaker 3: right and I think this was around two thousand and five,

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Speaker 3: two thousand and six, and they had the the warehouse

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Speaker 3: I guess where they were doing it from in the

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Speaker 3: Bronx right there before you go over anyway, So they

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Speaker 3: they were paying me to put a magazine together to

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Speaker 3: a company, like the mixtapes they were putting.

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Speaker 1: Outlet's say bundling.

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Speaker 5: It's a real industry and economy behind it.

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Speaker 6: Like you know, these guys were taking care of themselves

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Speaker 6: and their families off these tapes.

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Speaker 2: I remember people used to get a mixtape and I

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Speaker 2: would make a copy of their mixtape because you could

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Speaker 2: just yeah, you just yeah.

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Speaker 3: You cover the holes the tape over the holes and

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Speaker 3: then you put.

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Speaker 1: It in you know what.

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Speaker 2: And I remember this one mixtape I had that I

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Speaker 2: played so much. It was like a dance hall mixtape

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Speaker 2: and the DJ yes, right because it would have like

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Speaker 2: all the hits, you know. I think it Rated R

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Speaker 2: was his name. I think it was him that had

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Speaker 2: a mixtape. But you know, it's just so interesting to

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Speaker 2: me because some people would feel like the DJ is

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Speaker 2: it's just different now.

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Speaker 1: You know.

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Speaker 2: Back then DJ's were like the biggest celebrities. You literally

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Speaker 2: were paying them like a ton of money, you know,

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Speaker 2: and now it's just kind of more like celebrity DJs

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Speaker 2: or the competition to go and DJ in the club,

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Speaker 2: and it's just you know, it's hard to explain. But

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Speaker 2: remember like Bismarcky would come in DJ and he'll get

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Speaker 2: a ton of money. Kick Capri would get a ton

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Speaker 2: of money to come in DJ, and I feel like,

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Speaker 2: it's just, you know, I can't the difference now.

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Speaker 3: I think I think that that when, at least for

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Speaker 3: us in New York, when the club culture was so crazy, right,

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Speaker 3: they were the real celebrities, right because if you knew

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Speaker 3: the DJ, he was getting with the DJ right with

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Speaker 3: the club, you could sit in the booth, you could

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Speaker 3: watch the entire party and you can be seen. So

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Speaker 3: like they were the figures in hip hop that everybody

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Speaker 3: needed to know. They were the gatekeepers, right, and I

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Speaker 3: think they're still the gatekeepers. It's just that the game

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Speaker 3: has changed along with technology, right, So like real authentic DJs,

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Speaker 3: they're going to evolve with the time.

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Speaker 4: They're going to be sure they're up to speed on that.

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Speaker 2: Because even if you think about breaking records, it used

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Speaker 2: to be like a DJ with breaker record.

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Speaker 1: Now that doesn't happen.

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Speaker 4: The Internet.

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Speaker 1: Yeah, the Internet and a.

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Speaker 6: Lot of these DJs you know from Clue, env s

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Speaker 6: Ca Capri, they're all still booked all.

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Speaker 5: The time, you know what I mean?

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Speaker 6: Just the mix the mixtape game has changed so much

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Speaker 6: to where it's practically non existent, right.

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Speaker 1: But I will say the club scene has changed too.

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Speaker 4: The club scene has definitely changed.

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Speaker 2: You know for sure, because New York used to be lit.

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Speaker 2: It was they used to be lit, and.

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Speaker 1: Now it's kind of like we go to a lounge.

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Speaker 1: It's not the same thing.

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Speaker 2: We don't have a tunnel like, but the tunnel was huge.

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Speaker 2: There's thousands of people in there. We don't maybe like

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Speaker 2: the what's it called Carbon or Exit that club that's

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Speaker 2: on the West side, I don't know, a.

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Speaker 1: Parlor whatever, like some sort of They keep changing the

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Speaker 1: name of it.

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Speaker 4: All the kids go to that. I call them kids.

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Speaker 1: They're like twenty eight kidle outside though, she went to

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Speaker 1: go see a boogie.

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Speaker 4: I sure did shout out to Ella. But it was amazing.

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Speaker 4: It was a great concerto.

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Speaker 1: And you know, so I feel like things have more.

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Speaker 2: And then remember I felt like the big thing ended

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Speaker 2: up being SoundCloud after that, Yeah, you know, I guess Linemark.

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Speaker 1: SoundCloud.

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Speaker 2: Though SoundCloud is like where artists are kind of we're

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Speaker 2: getting discovered.

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Speaker 1: Its SoundCloud still a.

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Speaker 3: Thing I don't know as much right, Like I've never

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Speaker 3: really understood.

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Speaker 4: I love the I love the nod from the side.

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Speaker 1: Yes, yes, he definitely pays attention to all of that.

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Speaker 6: I think artists just decided to take everything into their

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Speaker 6: own hands. After looking at what fifty did and Dip

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Speaker 6: said and Joe Butten did, they were like, we can

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Speaker 6: do this. And then that's how you have the Kendricks,

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Speaker 6: j Coles and and a Sap and those guys.

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Speaker 3: And the sound evolves because a SoundCloud artist is like

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Speaker 3: the specific sound right, like, I feel like I can

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Speaker 3: tell a SoundCloud rapper. Maybe I'm I'm thinking of like

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Speaker 3: the Emo rap that kind of.

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Speaker 4: It's just crazy to me, it's like sound Cloud.

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Speaker 2: And what I didn't realize was that who kid grew

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Speaker 2: up next door to Envy right by Clue, So a

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Speaker 2: lot of these DJs really did know from Queens. Yeah,

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Speaker 2: but it was a very competitive thing too.

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Speaker 5: Yeah, yeah, yeah, absolutely.

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Speaker 6: You know I always say football players are from Texas

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Speaker 6: and DJs are from Queens.

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Speaker 4: Funny, that's funny.

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Speaker 3: Yeah.

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Speaker 2: And fifty cent, you know, he was a huge part

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Speaker 2: of how labels also started signing exact artists, and you

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Speaker 2: guys talk about that on the documentary too.

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Speaker 1: You have a lot of exclusive interviews.

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Speaker 2: So at the time, I'm just wondering from a business perspective,

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Speaker 2: how does this work? Like do you get the sign

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Speaker 2: off then and then you're good or did you have

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Speaker 2: to circle back and be like just so you know,

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Speaker 2: we're putting this out.

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Speaker 6: So the beautiful thing about when you interview these guys

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Speaker 6: really early, they was just sign whatever, right, They're just

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Speaker 6: like like it's cool.

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Speaker 5: It's not you don't they don't have twenty people around them.

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Speaker 6: You know what I mean, you don't. They don't have

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Speaker 6: twenty people around them. That's like, oh, let us get

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Speaker 6: back to you and things like that. It's funny because

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Speaker 6: Jake Cole actually was I think that was the right

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Speaker 6: after us we interviewed him there in the park near

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Speaker 6: Saint John's because that's where you went to school. Like

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Speaker 6: two weeks later, we're directing the music video for Consequence,

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Speaker 6: and he was like an.

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Speaker 5: Extra, so he was like he was blinded. He was blinded.

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Speaker 3: Yes, the circle back is never going to work if

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Speaker 3: you get an interview and then you got to circle back.

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Speaker 1: And look at it. I gotta have my lawyers looking

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Speaker 1: at it.

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Speaker 4: Forget about it. You ain't getting it.

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Speaker 5: Yeah. Also, you know we there's nothing slanderous for any

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Speaker 5: of these guys.

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Speaker 1: Yeah, yeah, there's nothing they should upset about.

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Speaker 2: And the thing that's but that's good advice for anybody

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Speaker 2: now who's outside with the camera doing interviews. Make sure

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Speaker 2: you get that sign off because if you ever want

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Speaker 2: to use that footage later on, it's going to be difficult.

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Speaker 4: Or you can get them to look into the camera.

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Speaker 1: And say I give permission, I give my permission. Just

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Speaker 1: don't lose that foot.

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Speaker 6: Actually and and and cable cast signs that we put

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Speaker 6: out normally, like you just kind of put up a

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Speaker 6: disclaimer around where you're filming.

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Speaker 4: You film that, ye, producer, producer workarounds.

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Speaker 2: Now, I remember when this whole mixtape era had to

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Speaker 2: come to an end for legal issues, and DJ drama

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Speaker 2: was definitely at the center of it. And that gets

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Speaker 2: addressed here too, so explaining why mixtapes actually ended up

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Speaker 2: becoming you know, it was a leg like you could

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Speaker 2: do them, but you had it was it became too

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Speaker 2: much of a burden. You could do it if you

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Speaker 2: got the sign of say what right, and if you

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Speaker 2: sold it through.

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Speaker 3: Well, when you think about the clearance of the music,

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Speaker 3: that's where it becomes an issue because you're selling the

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Speaker 3: music and who's profiting off of that and the artist

341
00:15:12,360 --> 00:15:16,240
Speaker 3: isn't profiting, So it's there's all this legality involved in it,

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Speaker 3: which is why remember when they used to put the

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Speaker 3: like they would say it was here, it's for promotional

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Speaker 3: use only, right, say that right, for promotional use only,

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Speaker 3: But give me twenty dollars.

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Speaker 4: You know what I'm saying.

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Speaker 1: You know, so.

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Speaker 4: Exactly so, And look, we're hustlers, and I think in

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Speaker 4: hip hop.

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Speaker 3: We gotta figure out a way because somebody's always eating.

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Speaker 4: Off of the our creative and I.

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Speaker 3: Think the blending, right that mixtapes showcase like that was.

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Speaker 4: An art in and of itself.

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Speaker 3: So that's what I as a mixtape fan, that's what

355
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Speaker 3: I'm paying for. I'm not paying just to hear this

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Speaker 3: record on the tape. And that goes down like back

357
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Speaker 3: to the nineties when I came up in the game,

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Speaker 3: and like when I was purchasing mixtapes, I was buying

359
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Speaker 3: it for the blends.

360
00:16:06,000 --> 00:16:08,520
Speaker 2: Right, that would be fun test smooth. He always did

361
00:16:08,560 --> 00:16:11,480
Speaker 2: really great blends too. It still does great mixes, yeah,

362
00:16:11,520 --> 00:16:13,840
Speaker 2: he does, because you want to hear like this beat

363
00:16:13,920 --> 00:16:16,960
Speaker 2: under this these vocals.

364
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Speaker 1: And you're like, why do I sound way?

365
00:16:17,840 --> 00:16:19,920
Speaker 2: You know that sound fly when you use this, But

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00:16:20,120 --> 00:16:22,480
Speaker 2: legally you can't really just do.

367
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Speaker 4: It, but you know, like.

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Speaker 3: You know, but we were all experimenting, I think with

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Speaker 3: music back then. You know, I used to think I

370
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Speaker 3: would wanted to be a DJ.

371
00:16:33,600 --> 00:16:35,120
Speaker 4: Yeah, yeah, I saw my turntable.

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Speaker 1: Here we go, where was it? It was just my name, Kim.

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Speaker 2: You know, and I was just showing Kim, I have

374
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Speaker 2: my turntables in my basement. Still, I just set everything

375
00:16:48,680 --> 00:16:50,000
Speaker 2: up and my vinyl.

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Speaker 5: You know.

377
00:16:50,240 --> 00:16:52,760
Speaker 2: I got my turntables from DJ Mugs from Cypress Hill.

378
00:16:53,520 --> 00:16:57,040
Speaker 2: I had did a photo shoot for him, uh when

379
00:16:57,080 --> 00:17:00,120
Speaker 2: he had uh when he had a project out, and

380
00:17:00,160 --> 00:17:01,120
Speaker 2: he was like, oh, what can I.

381
00:17:01,080 --> 00:17:02,400
Speaker 1: Get for you, like as a thank you?

382
00:17:02,440 --> 00:17:04,800
Speaker 2: Because I got it all paid for through this clothing

383
00:17:04,840 --> 00:17:08,480
Speaker 2: line and he it was a Soul Assassin's mixtape.

384
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Speaker 1: I mean, I'm album and so he ended up I

385
00:17:12,000 --> 00:17:15,240
Speaker 1: was album. Oh they did. I gotta go back and

386
00:17:15,240 --> 00:17:15,920
Speaker 1: flash back to that.

387
00:17:16,160 --> 00:17:20,280
Speaker 4: Yeahs.

388
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Speaker 3: But I remember thinking I was like I don't even

389
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Speaker 3: know DJ Mugs, Like what the fuck is this?

390
00:17:24,520 --> 00:17:29,959
Speaker 2: But well, anyway, he was at where you went and

391
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Speaker 2: he had to deal with new Mark.

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Speaker 1: So I got the turntables you know, from him.

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Speaker 4: So this is pre recorder, right Dan?

394
00:17:36,000 --> 00:17:38,400
Speaker 1: Yeah, you're fine, You're fine him you Curtsey, I did?

395
00:17:38,880 --> 00:17:40,480
Speaker 3: I did you see how it gets when you take

396
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Speaker 3: me back to the days of mine.

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Speaker 1: And you know what's interesting?

398
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Speaker 2: And then when I got my turntables, I remember like

399
00:17:46,440 --> 00:17:49,359
Speaker 2: so many DJs were helpful. I went to Pete Rock's

400
00:17:49,359 --> 00:17:51,240
Speaker 2: house to go pick up some records because he was like,

401
00:17:51,280 --> 00:17:53,760
Speaker 2: you can come get some Records, special K and Teddy

402
00:17:53,760 --> 00:17:56,280
Speaker 2: ted gave me a bunch of vinyl. It was a

403
00:17:56,320 --> 00:17:58,040
Speaker 2: few different DJs. They were like, come on, we got

404
00:17:58,080 --> 00:18:00,520
Speaker 2: some vinyl, Like come and get some Wow. You know,

405
00:18:00,560 --> 00:18:02,360
Speaker 2: Biddy used to carry my crates.

406
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Speaker 5: I love that you got axe.

407
00:18:06,040 --> 00:18:08,280
Speaker 1: You said, I do. Yeah, I'm not trying to get sued,

408
00:18:10,520 --> 00:18:10,959
Speaker 1: but you're right.

409
00:18:11,000 --> 00:18:11,199
Speaker 5: It did.

410
00:18:11,320 --> 00:18:13,560
Speaker 2: Used to say for promotional use only, so that was

411
00:18:13,600 --> 00:18:15,200
Speaker 2: the only way that they could work around that. But

412
00:18:15,280 --> 00:18:18,840
Speaker 2: let's talk about the legal drama, because then DJ Drama

413
00:18:18,960 --> 00:18:21,960
Speaker 2: his studio got raided and he had no idea that

414
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Speaker 2: he was even doing anything wrong, according to him, right.

415
00:18:25,280 --> 00:18:29,720
Speaker 6: I think also it's like you have corporations where the

416
00:18:30,480 --> 00:18:32,840
Speaker 6: departments aren't talking to each other, right, because at the

417
00:18:32,920 --> 00:18:34,960
Speaker 6: end of the day, a lot of these big tapes

418
00:18:34,960 --> 00:18:37,520
Speaker 6: that he were doing, some of them were promotion for

419
00:18:37,640 --> 00:18:40,160
Speaker 6: the actual label. So you have part of the label

420
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Speaker 6: that's like here you go, here's these here's this music

421
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Speaker 6: for us, and then you have another part that's like, hey,

422
00:18:48,440 --> 00:18:50,560
Speaker 6: what's going on over here? You know, And he was

423
00:18:50,600 --> 00:18:52,679
Speaker 6: just really caught up in the technicality and for them

424
00:18:52,760 --> 00:18:54,919
Speaker 6: to try to for them to come to his studio

425
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Speaker 6: with guns drawn and use such brute force over CDs

426
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Speaker 6: and DVD.

427
00:19:00,040 --> 00:19:00,880
Speaker 5: He was crazy.

428
00:19:01,080 --> 00:19:03,680
Speaker 2: Yeah, that was wow because he did you said, first

429
00:19:03,720 --> 00:19:05,359
Speaker 2: of all, I used to cost money for him to

430
00:19:05,400 --> 00:19:07,480
Speaker 2: even do the Against the Grills mixtape, like you want

431
00:19:07,480 --> 00:19:09,560
Speaker 2: against the Grills, this is what it costs for me

432
00:19:09,600 --> 00:19:12,560
Speaker 2: to even do this for you, you know, And and

433
00:19:12,600 --> 00:19:15,399
Speaker 2: that was But it was a great promotional tool because

434
00:19:15,440 --> 00:19:17,160
Speaker 2: it was always like the mixtape.

435
00:19:16,760 --> 00:19:17,560
Speaker 1: Before the album.

436
00:19:18,200 --> 00:19:21,480
Speaker 2: And for some yeah, and for some people, the mixtape

437
00:19:21,560 --> 00:19:22,960
Speaker 2: was better than the album.

438
00:19:23,080 --> 00:19:25,400
Speaker 1: Some people would say for for a lot of artists.

439
00:19:25,440 --> 00:19:27,320
Speaker 6: I mean, you know, artist gets to just you know,

440
00:19:27,400 --> 00:19:31,760
Speaker 6: express themselves organically without any interference. That was the beauty

441
00:19:31,840 --> 00:19:35,760
Speaker 6: of certain mixtapes. I don't know how if Drama was

442
00:19:36,119 --> 00:19:39,880
Speaker 6: quote unquote charging for his services, I.

443
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Speaker 5: Just want to put that out there. That was one

444
00:19:41,520 --> 00:19:42,640
Speaker 5: of my first interviews.

445
00:19:42,640 --> 00:19:47,679
Speaker 6: But job say that, but you know his but he

446
00:19:47,680 --> 00:19:50,399
Speaker 6: should also monetize all off of his brand.

447
00:19:50,640 --> 00:19:52,680
Speaker 5: That is probably one of the strongest brands in hip hop.

448
00:19:54,000 --> 00:19:55,320
Speaker 1: Against the Girls mixtapes.

449
00:19:55,440 --> 00:19:57,199
Speaker 4: I can't do interviews with my friends anymore.

450
00:19:58,280 --> 00:19:59,959
Speaker 5: I just want to make sure he already had.

451
00:20:00,720 --> 00:20:04,720
Speaker 2: I don't want to, but it was like there's certain

452
00:20:04,800 --> 00:20:06,639
Speaker 2: and I don't think every artist he whichis. But if

453
00:20:06,640 --> 00:20:08,679
Speaker 2: it was like an artist a label was pushing we

454
00:20:08,720 --> 00:20:11,200
Speaker 2: want to get against the Grill's mixtape, why would.

455
00:20:11,000 --> 00:20:11,680
Speaker 1: He do it for free?

456
00:20:12,040 --> 00:20:12,119
Speaker 5: No?

457
00:20:12,359 --> 00:20:15,520
Speaker 6: Absolutely, absolutely right, Yeah, at least got a consult on,

458
00:20:15,640 --> 00:20:19,520
Speaker 6: like which song should make the tape and there's a sorry.

459
00:20:20,200 --> 00:20:22,960
Speaker 1: I mean it's all we love hearing this time.

460
00:20:25,280 --> 00:20:29,359
Speaker 3: You don't want no drama because you know they come

461
00:20:29,400 --> 00:20:29,639
Speaker 3: for you.

462
00:20:29,760 --> 00:20:30,320
Speaker 1: I know they do.

463
00:20:30,840 --> 00:20:33,480
Speaker 2: And who Kid And I remember Who Kid always talks

464
00:20:33,480 --> 00:20:35,760
Speaker 2: about the time that he got stuffed in the trunk.

465
00:20:37,760 --> 00:20:41,040
Speaker 1: Yes, but I can't remember what's that? Over some mixtape

466
00:20:41,040 --> 00:20:41,520
Speaker 1: stuff too?

467
00:20:41,840 --> 00:20:45,200
Speaker 5: Yeah, I believe it was over something with Big Pun.

468
00:20:45,560 --> 00:20:47,240
Speaker 1: Yeah, I mean it was not a game.

469
00:20:47,560 --> 00:20:49,720
Speaker 4: What a Terror Squad wasn't to be played with. Still,

470
00:20:51,880 --> 00:20:54,479
Speaker 4: I remember being in the clubs back then. I'm like, okay,

471
00:20:54,520 --> 00:20:55,040
Speaker 4: it's time.

472
00:20:54,960 --> 00:20:57,840
Speaker 1: For their hair gotta go. Something's about to have out.

473
00:20:57,960 --> 00:21:00,400
Speaker 4: Like I love Terror Squad right from all the way

474
00:21:00,400 --> 00:21:00,800
Speaker 4: back then.

475
00:21:00,920 --> 00:21:05,720
Speaker 3: But I remember, you know, I would see them in action,

476
00:21:05,840 --> 00:21:08,560
Speaker 3: I'd be like, Okay, they're really about what they say.

477
00:21:08,600 --> 00:21:09,800
Speaker 4: Let me exist.

478
00:21:10,359 --> 00:21:12,199
Speaker 2: And even if you think about like Nicki Minaj and

479
00:21:12,240 --> 00:21:16,159
Speaker 2: beat Me Up Scottie, that was a huge mixtape, you know,

480
00:21:16,520 --> 00:21:19,320
Speaker 2: if you think about that, that was like that was

481
00:21:19,320 --> 00:21:19,919
Speaker 2: like an album.

482
00:21:20,040 --> 00:21:20,879
Speaker 4: Yeah, it was.

483
00:21:20,960 --> 00:21:24,479
Speaker 6: It was I think at that time, I was I

484
00:21:24,480 --> 00:21:26,480
Speaker 6: think we just stopped doing Rhap City. We were doing

485
00:21:26,520 --> 00:21:29,840
Speaker 6: the deal with the Mith hits and Diamond Cuts, and

486
00:21:29,880 --> 00:21:33,520
Speaker 6: we had her on just based off of that. You know,

487
00:21:33,600 --> 00:21:36,000
Speaker 6: we was like, look, we we gotta we gotta get on,

488
00:21:36,040 --> 00:21:37,960
Speaker 6: we gotta get on here she has a spit of

489
00:21:38,000 --> 00:21:41,439
Speaker 6: freestyle for us. But that mixtape I think was the

490
00:21:41,480 --> 00:21:43,600
Speaker 6: one that like quote unquote launched her career.

491
00:21:43,800 --> 00:21:44,840
Speaker 1: Yeah. Absolutely.

492
00:21:45,080 --> 00:21:47,920
Speaker 2: They used to have the digital magazines to remember that,

493
00:21:48,000 --> 00:21:50,439
Speaker 2: so it would be like the mixtape and then the

494
00:21:50,520 --> 00:21:53,400
Speaker 2: artists would be in like one of those digital magazines, right,

495
00:21:53,560 --> 00:21:56,560
Speaker 2: but it was like a DVD magazine like ePK. Yeah, yeah,

496
00:21:56,640 --> 00:21:57,399
Speaker 2: yeah kind of thing.

497
00:21:57,480 --> 00:21:59,439
Speaker 4: That's what that was. That was one was paying me

498
00:21:59,480 --> 00:22:00,160
Speaker 4: on the sid.

499
00:22:01,720 --> 00:22:02,600
Speaker 1: You gotta love it.

500
00:22:02,800 --> 00:22:05,439
Speaker 2: Well, Honestly, this was an interesting watch for me just

501
00:22:05,520 --> 00:22:08,080
Speaker 2: because I come from that era too, and it definitely

502
00:22:08,119 --> 00:22:11,439
Speaker 2: flashed me back to a lot of times. Yeah, a

503
00:22:11,440 --> 00:22:13,880
Speaker 2: lot of good times, a lot of great mixtapes. Now

504
00:22:13,960 --> 00:22:15,479
Speaker 2: made me want to go home and see, like do

505
00:22:15,560 --> 00:22:19,040
Speaker 2: I still have some of those? Because certain things I

506
00:22:19,119 --> 00:22:22,840
Speaker 2: like held on to as I'm moving and packing things up.

507
00:22:23,119 --> 00:22:27,399
Speaker 3: I think that the tape wears off, right, like it

508
00:22:27,440 --> 00:22:28,640
Speaker 3: goes bad, like if you.

509
00:22:28,560 --> 00:22:31,760
Speaker 1: Have to I don't have to work. Yeah, if they work.

510
00:22:31,920 --> 00:22:34,160
Speaker 3: But I believe Kikapri was saying some of his tapes

511
00:22:34,160 --> 00:22:37,480
Speaker 3: are available on Apple Music, So you know, I think

512
00:22:37,520 --> 00:22:39,880
Speaker 3: the DJs have found a way to put their art.

513
00:22:39,960 --> 00:22:42,280
Speaker 1: To digitize that. Yeah, and that's a great thing to

514
00:22:42,280 --> 00:22:42,760
Speaker 1: be able to do.

515
00:22:42,800 --> 00:22:46,520
Speaker 2: Because also you you listened to the mixtapes to also

516
00:22:46,600 --> 00:22:49,760
Speaker 2: hear the DJ talk, yeah, because you know, and and

517
00:22:49,920 --> 00:22:53,600
Speaker 2: we talked about that too, about bringing personality into the mixtape.

518
00:22:53,600 --> 00:22:54,760
Speaker 1: So it wasn't just a drop.

519
00:22:55,200 --> 00:22:57,919
Speaker 2: It was also the DJ like hyping it up, talking

520
00:22:58,040 --> 00:22:59,480
Speaker 2: and doing some people talk too much.

521
00:23:00,680 --> 00:23:04,280
Speaker 3: Yeah, However, I just remember it's sort of like stamped

522
00:23:04,320 --> 00:23:08,679
Speaker 3: and mark their territory, right, and and I feel like

523
00:23:09,080 --> 00:23:11,960
Speaker 3: it really gave way to the remix right when you

524
00:23:12,000 --> 00:23:15,000
Speaker 3: think about Roan Gi and what he was doing in

525
00:23:15,040 --> 00:23:18,880
Speaker 3: that era. Okay, those those became the remixes of the

526
00:23:18,920 --> 00:23:19,800
Speaker 3: records that were out.

527
00:23:20,119 --> 00:23:23,200
Speaker 2: Now, ran g was is definitely somebody who when you

528
00:23:23,240 --> 00:23:24,879
Speaker 2: think about mixtapes, you think about Ranji.

529
00:23:25,040 --> 00:23:27,240
Speaker 1: So did you have anything from him? Did you try

530
00:23:27,280 --> 00:23:28,000
Speaker 1: to interview him.

531
00:23:28,200 --> 00:23:33,120
Speaker 5: We tried to interview he was scheduling conflict unavailable.

532
00:23:33,520 --> 00:23:42,000
Speaker 8: Okay, I'm sure there were some DJs who reached out

533
00:23:42,000 --> 00:23:44,080
Speaker 8: to and pay your respect.

534
00:23:43,840 --> 00:23:46,959
Speaker 6: But a good majority of the DJs, again, it's like

535
00:23:47,000 --> 00:23:49,040
Speaker 6: a you know, it's a cool club. I think that

536
00:23:49,080 --> 00:23:54,240
Speaker 6: they belonged to right and most of them were very like, hey,

537
00:23:54,359 --> 00:23:56,720
Speaker 6: I'll do this, just no problem. If I'm trying to

538
00:23:56,720 --> 00:23:58,400
Speaker 6: get in touch with someone else, they would reach out

539
00:23:58,440 --> 00:24:01,400
Speaker 6: for me, et CETERA few of them had other things

540
00:24:01,440 --> 00:24:03,879
Speaker 6: going on, but we wouldn't be able to tell this

541
00:24:04,000 --> 00:24:06,480
Speaker 6: story properly without including Ron whether he was going to

542
00:24:06,520 --> 00:24:08,160
Speaker 6: do interview for us or not. So we was gonna

543
00:24:08,160 --> 00:24:10,600
Speaker 6: talk about regardless, and I actually told him that I'm

544
00:24:10,600 --> 00:24:12,360
Speaker 6: gonna be a part of this bro right.

545
00:24:12,680 --> 00:24:15,880
Speaker 1: Whether you let it or not. Around and Jazzy Joyce

546
00:24:15,960 --> 00:24:16,560
Speaker 1: is on there now.

547
00:24:16,880 --> 00:24:18,720
Speaker 2: When it came to these mixtapes, there weren't a lot

548
00:24:18,720 --> 00:24:21,400
Speaker 2: of women at that time that I feel like they're

549
00:24:21,440 --> 00:24:22,160
Speaker 2: got highlighted.

550
00:24:22,640 --> 00:24:25,040
Speaker 4: Asking the first thing I said, where's the women?

551
00:24:25,200 --> 00:24:28,240
Speaker 5: Where are the women? Molik? I sent to like all

552
00:24:28,240 --> 00:24:30,359
Speaker 5: the screeners for some of the interviews, where are the women?

553
00:24:30,880 --> 00:24:33,040
Speaker 2: That's why Ladies Night was really important to us when

554
00:24:33,040 --> 00:24:36,600
Speaker 2: they had the show, the radio show Ladies Night, and

555
00:24:36,640 --> 00:24:38,880
Speaker 2: that was like a night for the women to finally

556
00:24:39,000 --> 00:24:42,200
Speaker 2: like Coco Chanel, Jazzy Joyce, Spinderella was such a big

557
00:24:42,240 --> 00:24:46,040
Speaker 2: deal for us. But yeah, so, but even during that time,

558
00:24:46,119 --> 00:24:49,479
Speaker 2: I can't recall a lot of mixtapes that were hosted

559
00:24:49,480 --> 00:24:49,920
Speaker 2: by women.

560
00:24:50,040 --> 00:24:52,320
Speaker 1: Lazy K, Yeah, lazy K, that would have been good.

561
00:24:52,440 --> 00:24:55,680
Speaker 6: The Murder Mommies, right, they're c Yeah, but I made

562
00:24:55,680 --> 00:24:58,640
Speaker 6: sure we had diamond cuts in there.

563
00:24:59,160 --> 00:25:01,080
Speaker 4: So I made him open it up.

564
00:25:01,119 --> 00:25:07,720
Speaker 2: I was like, document all right, and how how was

565
00:25:07,760 --> 00:25:08,760
Speaker 2: it getting this picked up?

566
00:25:08,760 --> 00:25:10,399
Speaker 1: Because it is available on Prime.

567
00:25:10,800 --> 00:25:15,480
Speaker 6: Yes, it's available on Amazon, prom Verizon, Files on Demand

568
00:25:15,600 --> 00:25:17,760
Speaker 6: and Spectrum. You can go to tailor to tape film

569
00:25:17,800 --> 00:25:20,679
Speaker 6: dot com and uh click on the links for there

570
00:25:20,760 --> 00:25:23,159
Speaker 6: or just you know search on your subscriber. But you know,

571
00:25:23,200 --> 00:25:25,800
Speaker 6: getting it again. We we have a distribution deal with

572
00:25:25,840 --> 00:25:29,040
Speaker 6: Buffalo eight. Shout out to them. Thank you Joscelyn Lion

573
00:25:29,160 --> 00:25:32,639
Speaker 6: Rose for making that happen. And and yes it's actually

574
00:25:32,680 --> 00:25:34,840
Speaker 6: going to be available on a few more platforms in

575
00:25:34,880 --> 00:25:35,679
Speaker 6: about two weeks.

576
00:25:36,320 --> 00:25:38,359
Speaker 2: It definitely was great, a great watch, and it was

577
00:25:38,400 --> 00:25:42,800
Speaker 2: definitely educational but fun because DJ's personalities are so funny,

578
00:25:43,040 --> 00:25:45,600
Speaker 2: you know, shout out to sn s to Cluse.

579
00:25:56,320 --> 00:26:00,919
Speaker 6: I said something in the trailer I repeated in an interview,

580
00:26:00,960 --> 00:26:01,919
Speaker 6: and he went in the comments.

581
00:26:01,960 --> 00:26:03,680
Speaker 1: I think he was it that he said he took

582
00:26:03,680 --> 00:26:06,920
Speaker 1: his style or something like that. Okay, yeah, and I don't.

583
00:26:06,720 --> 00:26:10,440
Speaker 6: We don't believe that Clue. We don't believe that Clue.

584
00:26:10,640 --> 00:26:12,800
Speaker 6: Like he's clues on. Like, you know, he's the Mount

585
00:26:12,880 --> 00:26:15,600
Speaker 6: Rushmore of state DJs, you know what I'm saying.

586
00:26:15,840 --> 00:26:17,720
Speaker 2: I mean, he's the one that had a deal with

587
00:26:18,240 --> 00:26:21,360
Speaker 2: Rock with Roller, you know, not a lot of and

588
00:26:21,440 --> 00:26:23,240
Speaker 2: that was the thing. They were like, we're going to

589
00:26:23,320 --> 00:26:25,000
Speaker 2: sign that a bitty war over Clue.

590
00:26:25,520 --> 00:26:27,600
Speaker 5: Yeah, and Clue ended up having his own deal.

591
00:26:27,720 --> 00:26:31,199
Speaker 6: He had my own label deal for other artists he

592
00:26:31,200 --> 00:26:32,679
Speaker 6: talks about right with Tommy Mottola.

593
00:26:32,720 --> 00:26:33,439
Speaker 5: I believe in Sony.

594
00:26:33,680 --> 00:26:36,240
Speaker 4: So you're trying to get a clue for part two, Okay.

595
00:26:37,560 --> 00:26:40,120
Speaker 5: Relax and we're gonna make the call.

596
00:26:41,359 --> 00:26:45,520
Speaker 2: Only Clue can fix this, all right, Well, listen, thank

597
00:26:45,560 --> 00:26:48,960
Speaker 2: you very much for joining us today, kim My co host.

598
00:26:49,000 --> 00:26:52,120
Speaker 2: I appreciate you for showing up, Malik, but we always

599
00:26:53,040 --> 00:26:55,240
Speaker 2: love what you do behind the scenes. Making everybody feel

600
00:26:55,280 --> 00:26:57,760
Speaker 2: comfortable and working so hard. And your company is Red

601
00:26:57,760 --> 00:27:01,399
Speaker 2: Summon TV. Just so people know. So other things that

602
00:27:01,440 --> 00:27:02,600
Speaker 2: you're working on, so we know.

603
00:27:03,440 --> 00:27:05,439
Speaker 5: I mean, we're gonna do part two for this, Oh

604
00:27:05,680 --> 00:27:06,439
Speaker 5: she was a kidding.

605
00:27:06,560 --> 00:27:09,399
Speaker 1: Yeah, we don't believe it.

606
00:27:09,680 --> 00:27:10,560
Speaker 5: The DVD era.

607
00:27:11,920 --> 00:27:14,040
Speaker 6: We have a lot of the projects that we're working

608
00:27:14,040 --> 00:27:17,080
Speaker 6: on in a podcast series called Don't Sell Grandma's House.

609
00:27:17,359 --> 00:27:18,800
Speaker 1: Oh okay, I like it.

610
00:27:18,760 --> 00:27:21,960
Speaker 5: Gentrification and what it does to black families.

611
00:27:22,480 --> 00:27:22,800
Speaker 1: Listen.

612
00:27:22,840 --> 00:27:27,879
Speaker 2: I love real estate conversations and I love homeowner conversations

613
00:27:27,960 --> 00:27:29,960
Speaker 2: and generational wealth conversations.

614
00:27:30,000 --> 00:27:32,440
Speaker 1: So I appreciate that. Thank you guys so much.

615
00:27:32,680 --> 00:27:35,920
Speaker 5: Thank you