Kim Osorio & Malik Buie On 'Tale Of The Tape' , Exclusives From Kendrick, J. Cole, & Future + More
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Speaker 1 (00:02):
What's up?
Speaker 2 (00:04):
Its way up at Angela yee, And it's so nice
to meet you, Kim O. Sorry, nice to meet you.
Speaker 1 (00:10):
Malik Buoy is here. Nice to meet you as well.
Speaker 2 (00:12):
No, I actually know both of them, and you guys
have been in this business, you know, for I thought
I was your co host.
Speaker 1 (00:18):
Yeah, you're also my co host, Kim Osorio, I.
Speaker 3 (00:20):
Feel like I feel like you replaced me. I feel
like I've been seeing beat out up here too much.
Speaker 2 (00:25):
So may Know's okay, it's just not beat up what
may Know was before me. Yeah, okay, beat fair enough.
Speaker 4 (00:31):
Shout out to both of them. I love them.
Speaker 1 (00:33):
Yeah.
Speaker 2 (00:33):
So both of you are journalists but also in this
TV world producing, directing all of that. So you also
both have this tail of the tape documentary that you
work down. Now, Malik, this was your baby first.
Speaker 5 (00:48):
Right, yes, okay, well over ago.
Speaker 2 (00:53):
I like when people do documentaries over a period of
time because sometimes I feel like people try to put
a documentary together and it's like a week of interviews.
You no, seriously, because it reminds me of when they
did Hoop Dreams. Oh yeah, remember who Dreams? And that
was over such an extended period of time. So you
got to see a lot of like the progress and
things that happened, and it's a different reaction when something
(01:16):
happens than it is later.
Speaker 5 (01:18):
Yeah, who Dreams? It's funny.
Speaker 6 (01:19):
Who Dreams one of the To me, it is one
of the greatest documentaries ever because its chronicles like four
or five years.
Speaker 5 (01:25):
Our story is a little bit different. You know.
Speaker 6 (01:27):
We were self funded, all out of pocket for this.
So in a perfect world, yes, we would love to
shoot for eight months, edit for four and then you know, release,
but that wasn't the case.
Speaker 2 (01:37):
But you had footage that was from you know, never
before seen footage from back you know, like actually a
decade ago or more.
Speaker 5 (01:45):
Yeah.
Speaker 6 (01:46):
Yeah, just fortunate. You know our film like ninety percent
of it.
Speaker 5 (01:50):
Right, like all out like yeah right, yeah, like.
Speaker 6 (01:54):
The Kendrick stuff, the j Cole stuff, Future the first
time we did an interview, all that stuff that was
me with my camera, So you never.
Speaker 2 (02:02):
Knew where Kenjuck was going to end up, where j
Cole was going to end up, you know, where Future
was going to end up. To see all of them,
like in the Top ten conversation.
Speaker 4 (02:11):
I often say I should have been a camera person, Yeah,
because I would have had.
Speaker 1 (02:16):
Imagine if I'm glad you didn't. Thanks, Anne, I'm so
glad you didn't.
Speaker 4 (02:21):
Like you didn't need a camera with the type it.
Speaker 2 (02:25):
Was kind of drama that was going on, right, But yeah,
you had definitely had the foresight to do that. Now,
when you were filming those interviews, they were just interviews,
like footage you were getting or did you know what
it was eventually going to be for?
Speaker 6 (02:36):
At that point, I knew that I wanted to do
a documentary on mixtape and mixtape culture. I wasn't sure
how to tell the story, and that was the importance
of Kim being able to come in and say, well,
this is how we need to like craft this. When
I did the Kendrick shoot, he was in Atlanta just
kind of doing promo for his mixtape.
Speaker 1 (02:55):
So he was that mixtape was big for him.
Speaker 5 (02:58):
Right section eighty, Yeah, he was.
Speaker 6 (03:00):
He was a co headliner Dom Kennedy was like him
and Dom Kennedy were headlining together. Big Sean to Chain
Side The Prince were openers, and DJ Drama was on
the marquee like he was just like DJ Drama and friends.
I forget what place in Atlanta we were out there
for Hip Hop Awards. So I was like, you know,
I've always been cool with drama from my Rhap City
(03:21):
producing days. He was like, Yo, you want to come
out to this event, DJ, let's go, And it just
happened to be that night. You know, just one of
those things that you know, you uh, just blessed to
be able to be a part of.
Speaker 4 (03:33):
You never know where somebody's going to be And listen
tailor the tape.
Speaker 2 (03:36):
It's all about the importance of mixtapes and how mixtapes
really helped create so many other offspring, so many offshoots
of it. Like I saw in a documentary they were saying,
people start off as a mixtape DJ, but you get
so engrossed in the music, it's inevitable you're going to end.
Speaker 1 (03:52):
Up being a producer, yes, you know at some point.
Speaker 2 (03:55):
And so some of our favorite DJs also ended up
being producers.
Speaker 7 (03:59):
Right, Yeah, he's DJ Yah Swizz Right talked about it
in the dock, and I think, you know, the DJ
and the DJs.
Speaker 3 (04:11):
Have served such an important like part of hip hop,
right even when you think about mixtapes and A and
Ring right, like they were the original A and R's
because they would you know.
Speaker 1 (04:23):
They knew what was Gonn worked in the club, you know,
and another thing.
Speaker 2 (04:29):
And this is so true because look kids today and
we'll talk about the legalities of what happened with mixtapes,
but even as far as getting the exclusives, that was
such a big deal.
Speaker 1 (04:38):
And I saw you guys had Clue on there.
Speaker 2 (04:41):
DJ Clue to me, like coming up, DJ Clue had
some of the I remember the Springtime stick Up.
Speaker 1 (04:46):
I think it was called.
Speaker 2 (04:48):
We all have those mixtapes from our era that were
like reminds us of a period of time where we
were rocking that mixtape the whole summer, you know, and
you just think about that, Like for for you, RELI,
you have to be a little bit.
Speaker 1 (05:01):
I know you want to be unbiased.
Speaker 2 (05:03):
But when you think back to like a mixtape that
had an impact or reminds you of something, what would
you say?
Speaker 6 (05:09):
It would be, Well, my favorite mixtape is dou Op
ninety fives.
Speaker 5 (05:13):
Okay, right, that just sets the tone for me.
Speaker 6 (05:17):
During that time, I was at Morgan State University and
my TTZ brothers we were doing parties. I actually met
you know Envy, who was one of our koeps. He
was at Hampton coming through Clue would come and do parties.
S and S would come and do parties. Ron G
would come and do parties. But that mixtape to me
(05:39):
because it had you know, every artist from.
Speaker 5 (05:42):
You know, the Five Boroughs.
Speaker 6 (05:43):
You had guys that were signed that was going gold
and platinum that were still like, look, I want to
do this mixtape and do Op and his Crewku spit
like that's.
Speaker 2 (05:52):
Just you know, yeah, those do what mixtapes and Tony Touch,
Yeah remember Tony.
Speaker 4 (05:57):
I think Tony Touch.
Speaker 3 (05:58):
I had the that was the first time I've shot
got shouted out on a mix.
Speaker 2 (06:02):
Up they had, you know, but yeah, Clue and we
talked about how exclusive became a thing. You know, at first,
it was like okay, you know, putting together a mixtape
and then getting these.
Speaker 1 (06:18):
You know, these big artists and.
Speaker 2 (06:20):
Getting things first and step that wasn't even out, like
Who's Shatcha?
Speaker 1 (06:24):
They talk about the biggie who Shatcha?
Speaker 2 (06:26):
And sometimes artists would get really mad that you would
get that exclusive from them, like how did you get that?
But then it turned into okay, we're going to have
like all it was like an album of exclusives.
Speaker 3 (06:38):
It evolved over the years, right all the way up
until when you get to the fifty cent era with
what he did with his mixtape, right, that really changed
the way artists promoted themselves and put themselves out there,
predating whatever the label wanted to do. So I think
like we kind of were telling the story of mixtape
culture from the exception to where it is today when
(07:00):
you get to streaming and playlists and that has become
the new mixtape.
Speaker 1 (07:04):
Yeah, we all make our own mixtapes at home all day,
that's all I do.
Speaker 2 (07:07):
It started up with the iPod, right, and then you
put together your iPod playlist.
Speaker 1 (07:12):
And then next thing.
Speaker 2 (07:13):
You know, but even thinking about how technology was so
different back then, so if you wanted to make a
mixtape and sell it, you actually had to physically like
make copies of a tape, a cassette tape.
Speaker 5 (07:26):
Yeah, Bushy B talks about that.
Speaker 6 (07:27):
You know, he was at the rooftop selling his mixtape.
So he would record his set on one week and
then the next seven days before he gets back there,
he's literally duplicating it one by one with a machine
and going back and selling them. So and then you know,
you fast forward to Clue Envy, who then have like
(07:48):
ten machines and DVD DVD duplicators, and you know, they
figured out a real distribution system for it.
Speaker 1 (07:56):
We're gonna figure it out, they did.
Speaker 3 (07:58):
Like I used to actually have a mixtape mag I
don't think I spoke about this before, where these guys
who were duplicating mixtapes. Listen, it was it was a period.
I had a mixtape magazine. Fabulous was on the cover,
like you know, we we were putting it out. But
they were they were doing what they were doing with mixtapes,
(08:20):
right and I think this was around two thousand and five,
two thousand and six, and they had the the warehouse
I guess where they were doing it from in the
Bronx right there before you go over anyway, So they
they were paying me to put a magazine together to
a company, like the mixtapes they were putting.
Speaker 1 (08:41):
Outlet's say bundling.
Speaker 5 (08:47):
It's a real industry and economy behind it.
Speaker 6 (08:50):
Like you know, these guys were taking care of themselves
and their families off these tapes.
Speaker 2 (08:54):
I remember people used to get a mixtape and I
would make a copy of their mixtape because you could
just yeah, you just yeah.
Speaker 3 (09:00):
You cover the holes the tape over the holes and
then you put.
Speaker 1 (09:05):
It in you know what.
Speaker 2 (09:07):
And I remember this one mixtape I had that I
played so much. It was like a dance hall mixtape
and the DJ yes, right because it would have like
all the hits, you know. I think it Rated R
was his name. I think it was him that had
a mixtape. But you know, it's just so interesting to
me because some people would feel like the DJ is
(09:30):
it's just different now.
Speaker 1 (09:32):
You know.
Speaker 2 (09:32):
Back then DJ's were like the biggest celebrities. You literally
were paying them like a ton of money, you know,
and now it's just kind of more like celebrity DJs
or the competition to go and DJ in the club,
and it's just you know, it's hard to explain. But
remember like Bismarcky would come in DJ and he'll get
(09:53):
a ton of money. Kick Capri would get a ton
of money to come in DJ, and I feel like,
it's just, you know, I can't the difference now.
Speaker 3 (10:01):
I think I think that that when, at least for
us in New York, when the club culture was so crazy, right,
they were the real celebrities, right because if you knew
the DJ, he was getting with the DJ right with
the club, you could sit in the booth, you could
watch the entire party and you can be seen. So
like they were the figures in hip hop that everybody
(10:22):
needed to know. They were the gatekeepers, right, and I
think they're still the gatekeepers. It's just that the game
has changed along with technology, right, So like real authentic DJs,
they're going to evolve with the time.
Speaker 4 (10:35):
They're going to be sure they're up to speed on that.
Speaker 2 (10:38):
Because even if you think about breaking records, it used
to be like a DJ with breaker record.
Speaker 1 (10:42):
Now that doesn't happen.
Speaker 4 (10:44):
The Internet.
Speaker 1 (10:44):
Yeah, the Internet and a.
Speaker 6 (10:46):
Lot of these DJs you know from Clue, env s
Ca Capri, they're all still booked all.
Speaker 5 (10:53):
The time, you know what I mean?
Speaker 6 (10:55):
Just the mix the mixtape game has changed so much
to where it's practically non existent, right.
Speaker 1 (11:00):
But I will say the club scene has changed too.
Speaker 4 (11:02):
The club scene has definitely changed.
Speaker 2 (11:03):
You know for sure, because New York used to be lit.
It was they used to be lit, and.
Speaker 1 (11:08):
Now it's kind of like we go to a lounge.
It's not the same thing.
Speaker 2 (11:12):
We don't have a tunnel like, but the tunnel was huge.
There's thousands of people in there. We don't maybe like
the what's it called Carbon or Exit that club that's
on the West side, I don't know, a.
Speaker 1 (11:27):
Parlor whatever, like some sort of They keep changing the
name of it.
Speaker 4 (11:31):
All the kids go to that. I call them kids.
Speaker 1 (11:33):
They're like twenty eight kidle outside though, she went to
go see a boogie.
Speaker 4 (11:37):
I sure did shout out to Ella. But it was amazing.
It was a great concerto.
Speaker 1 (11:45):
And you know, so I feel like things have more.
Speaker 2 (11:47):
And then remember I felt like the big thing ended
up being SoundCloud after that, Yeah, you know, I guess Linemark.
Speaker 1 (11:53):
SoundCloud.
Speaker 2 (11:54):
Though SoundCloud is like where artists are kind of we're
getting discovered.
Speaker 1 (11:58):
Its SoundCloud still a.
Speaker 3 (11:59):
Thing I don't know as much right, Like I've never
really understood.
Speaker 4 (12:04):
I love the I love the nod from the side.
Speaker 1 (12:07):
Yes, yes, he definitely pays attention to all of that.
Speaker 6 (12:12):
I think artists just decided to take everything into their
own hands. After looking at what fifty did and Dip
said and Joe Butten did, they were like, we can
do this. And then that's how you have the Kendricks,
j Coles and and a Sap and those guys.
Speaker 3 (12:25):
And the sound evolves because a SoundCloud artist is like
the specific sound right, like, I feel like I can
tell a SoundCloud rapper. Maybe I'm I'm thinking of like
the Emo rap that kind of.
Speaker 4 (12:39):
It's just crazy to me, it's like sound Cloud.
Speaker 2 (12:42):
And what I didn't realize was that who kid grew
up next door to Envy right by Clue, So a
lot of these DJs really did know from Queens. Yeah,
but it was a very competitive thing too.
Speaker 5 (12:54):
Yeah, yeah, yeah, absolutely.
Speaker 6 (12:56):
You know I always say football players are from Texas
and DJs are from Queens.
Speaker 4 (13:00):
Funny, that's funny.
Speaker 3 (13:01):
Yeah.
Speaker 2 (13:01):
And fifty cent, you know, he was a huge part
of how labels also started signing exact artists, and you
guys talk about that on the documentary too.
Speaker 1 (13:10):
You have a lot of exclusive interviews.
Speaker 2 (13:13):
So at the time, I'm just wondering from a business perspective,
how does this work? Like do you get the sign
off then and then you're good or did you have
to circle back and be like just so you know,
we're putting this out.
Speaker 6 (13:22):
So the beautiful thing about when you interview these guys
really early, they was just sign whatever, right, They're just
like like it's cool.
Speaker 5 (13:28):
It's not you don't they don't have twenty people around them.
Speaker 6 (13:31):
You know what I mean, you don't. They don't have
twenty people around them. That's like, oh, let us get
back to you and things like that. It's funny because
Jake Cole actually was I think that was the right
after us we interviewed him there in the park near
Saint John's because that's where you went to school. Like
two weeks later, we're directing the music video for Consequence,
and he was like an.
Speaker 5 (13:50):
Extra, so he was like he was blinded. He was blinded.
Speaker 3 (13:54):
Yes, the circle back is never going to work if
you get an interview and then you got to circle back.
Speaker 1 (13:58):
And look at it. I gotta have my lawyers looking
at it.
Speaker 4 (14:02):
Forget about it. You ain't getting it.
Speaker 5 (14:04):
Yeah. Also, you know we there's nothing slanderous for any
of these guys.
Speaker 1 (14:07):
Yeah, yeah, there's nothing they should upset about.
Speaker 2 (14:10):
And the thing that's but that's good advice for anybody
now who's outside with the camera doing interviews. Make sure
you get that sign off because if you ever want
to use that footage later on, it's going to be difficult.
Speaker 4 (14:21):
Or you can get them to look into the camera.
Speaker 1 (14:23):
And say I give permission, I give my permission. Just
don't lose that foot.
Speaker 6 (14:27):
Actually and and and cable cast signs that we put
out normally, like you just kind of put up a
disclaimer around where you're filming.
Speaker 4 (14:33):
You film that, ye, producer, producer workarounds.
Speaker 2 (14:36):
Now, I remember when this whole mixtape era had to
come to an end for legal issues, and DJ drama
was definitely at the center of it. And that gets
addressed here too, so explaining why mixtapes actually ended up
becoming you know, it was a leg like you could
do them, but you had it was it became too
(14:57):
much of a burden. You could do it if you
got the sign of say what right, and if you
sold it through.
Speaker 3 (15:03):
Well, when you think about the clearance of the music,
that's where it becomes an issue because you're selling the
music and who's profiting off of that and the artist
isn't profiting, So it's there's all this legality involved in it,
which is why remember when they used to put the
like they would say it was here, it's for promotional
(15:23):
use only, right, say that right, for promotional use only,
But give me twenty dollars.
Speaker 4 (15:29):
You know what I'm saying.
Speaker 1 (15:30):
You know, so.
Speaker 4 (15:34):
Exactly so, And look, we're hustlers, and I think in
hip hop.
Speaker 3 (15:38):
We gotta figure out a way because somebody's always eating.
Speaker 4 (15:41):
Off of the our creative and I.
Speaker 3 (15:44):
Think the blending, right that mixtapes showcase like that was.
Speaker 4 (15:49):
An art in and of itself.
Speaker 3 (15:51):
So that's what I as a mixtape fan, that's what
I'm paying for. I'm not paying just to hear this
record on the tape. And that goes down like back
to the nineties when I came up in the game,
and like when I was purchasing mixtapes, I was buying
it for the blends.
Speaker 2 (16:06):
Right, that would be fun test smooth. He always did
really great blends too. It still does great mixes, yeah,
he does, because you want to hear like this beat
under this these vocals.
Speaker 1 (16:16):
And you're like, why do I sound way?
Speaker 2 (16:17):
You know that sound fly when you use this, But
legally you can't really just do.
Speaker 4 (16:22):
It, but you know, like.
Speaker 3 (16:25):
You know, but we were all experimenting, I think with
music back then. You know, I used to think I
would wanted to be a DJ.
Speaker 4 (16:33):
Yeah, yeah, I saw my turntable.
Speaker 1 (16:36):
Here we go, where was it? It was just my name, Kim.
Speaker 2 (16:44):
You know, and I was just showing Kim, I have
my turntables in my basement. Still, I just set everything
up and my vinyl.
Speaker 5 (16:50):
You know.
Speaker 2 (16:50):
I got my turntables from DJ Mugs from Cypress Hill.
I had did a photo shoot for him, uh when
he had uh when he had a project out, and
he was like, oh, what can I.
Speaker 1 (17:01):
Get for you, like as a thank you?
Speaker 2 (17:02):
Because I got it all paid for through this clothing
line and he it was a Soul Assassin's mixtape.
Speaker 1 (17:08):
I mean, I'm album and so he ended up I
was album. Oh they did. I gotta go back and
flash back to that.
Speaker 4 (17:16):
Yeahs.
Speaker 3 (17:20):
But I remember thinking I was like I don't even
know DJ Mugs, Like what the fuck is this?
Speaker 2 (17:24):
But well, anyway, he was at where you went and
he had to deal with new Mark.
Speaker 1 (17:31):
So I got the turntables you know, from him.
Speaker 4 (17:34):
So this is pre recorder, right Dan?
Speaker 1 (17:36):
Yeah, you're fine, You're fine him you Curtsey, I did?
Speaker 3 (17:38):
I did you see how it gets when you take
me back to the days of mine.
Speaker 1 (17:42):
And you know what's interesting?
Speaker 2 (17:43):
And then when I got my turntables, I remember like
so many DJs were helpful. I went to Pete Rock's
house to go pick up some records because he was like,
you can come get some Records, special K and Teddy
ted gave me a bunch of vinyl. It was a
few different DJs. They were like, come on, we got
some vinyl, Like come and get some Wow. You know,
Biddy used to carry my crates.
Speaker 5 (18:03):
I love that you got axe.
Speaker 1 (18:06):
You said, I do. Yeah, I'm not trying to get sued,
but you're right.
Speaker 5 (18:11):
It did.
Speaker 2 (18:11):
Used to say for promotional use only, so that was
the only way that they could work around that. But
let's talk about the legal drama, because then DJ Drama
his studio got raided and he had no idea that
he was even doing anything wrong, according to him, right.
Speaker 6 (18:25):
I think also it's like you have corporations where the
departments aren't talking to each other, right, because at the
end of the day, a lot of these big tapes
that he were doing, some of them were promotion for
the actual label. So you have part of the label
that's like here you go, here's these here's this music
for us, and then you have another part that's like, hey,
(18:48):
what's going on over here? You know, And he was
just really caught up in the technicality and for them
to try to for them to come to his studio
with guns drawn and use such brute force over CDs
and DVD.
Speaker 5 (19:00):
He was crazy.
Speaker 2 (19:01):
Yeah, that was wow because he did you said, first
of all, I used to cost money for him to
even do the Against the Grills mixtape, like you want
against the Grills, this is what it costs for me
to even do this for you, you know, And and
that was But it was a great promotional tool because
it was always like the mixtape.
Speaker 1 (19:16):
Before the album.
Speaker 2 (19:18):
And for some yeah, and for some people, the mixtape
was better than the album.
Speaker 1 (19:23):
Some people would say for for a lot of artists.
Speaker 6 (19:25):
I mean, you know, artist gets to just you know,
express themselves organically without any interference. That was the beauty
of certain mixtapes. I don't know how if Drama was
quote unquote charging for his services, I.
Speaker 5 (19:39):
Just want to put that out there. That was one
of my first interviews.
Speaker 6 (19:42):
But job say that, but you know his but he
should also monetize all off of his brand.
Speaker 5 (19:50):
That is probably one of the strongest brands in hip hop.
Speaker 1 (19:54):
Against the Girls mixtapes.
Speaker 4 (19:55):
I can't do interviews with my friends anymore.
Speaker 5 (19:58):
I just want to make sure he already had.
Speaker 2 (20:00):
I don't want to, but it was like there's certain
and I don't think every artist he whichis. But if
it was like an artist a label was pushing we
want to get against the Grill's mixtape, why would.
Speaker 1 (20:11):
He do it for free?
Speaker 5 (20:12):
No?
Speaker 6 (20:12):
Absolutely, absolutely right, Yeah, at least got a consult on,
like which song should make the tape and there's a sorry.
Speaker 1 (20:20):
I mean it's all we love hearing this time.
Speaker 3 (20:25):
You don't want no drama because you know they come
for you.
Speaker 1 (20:29):
I know they do.
Speaker 2 (20:30):
And who Kid And I remember Who Kid always talks
about the time that he got stuffed in the trunk.
Speaker 1 (20:37):
Yes, but I can't remember what's that? Over some mixtape
stuff too?
Speaker 5 (20:41):
Yeah, I believe it was over something with Big Pun.
Speaker 1 (20:45):
Yeah, I mean it was not a game.
Speaker 4 (20:47):
What a Terror Squad wasn't to be played with. Still,
I remember being in the clubs back then. I'm like, okay,
it's time.
Speaker 1 (20:54):
For their hair gotta go. Something's about to have out.
Speaker 4 (20:57):
Like I love Terror Squad right from all the way
back then.
Speaker 3 (21:00):
But I remember, you know, I would see them in action,
I'd be like, Okay, they're really about what they say.
Speaker 4 (21:08):
Let me exist.
Speaker 2 (21:10):
And even if you think about like Nicki Minaj and
beat Me Up Scottie, that was a huge mixtape, you know,
if you think about that, that was like that was
like an album.
Speaker 4 (21:20):
Yeah, it was.
Speaker 6 (21:20):
It was I think at that time, I was I
think we just stopped doing Rhap City. We were doing
the deal with the Mith hits and Diamond Cuts, and
we had her on just based off of that. You know,
we was like, look, we we gotta we gotta get on,
we gotta get on here she has a spit of
freestyle for us. But that mixtape I think was the
(21:41):
one that like quote unquote launched her career.
Speaker 1 (21:43):
Yeah. Absolutely.
Speaker 2 (21:45):
They used to have the digital magazines to remember that,
so it would be like the mixtape and then the
artists would be in like one of those digital magazines, right,
but it was like a DVD magazine like ePK. Yeah, yeah,
yeah kind of thing.
Speaker 4 (21:57):
That's what that was. That was one was paying me
on the sid.
Speaker 1 (22:01):
You gotta love it.
Speaker 2 (22:02):
Well, Honestly, this was an interesting watch for me just
because I come from that era too, and it definitely
flashed me back to a lot of times. Yeah, a
lot of good times, a lot of great mixtapes. Now
made me want to go home and see, like do
I still have some of those? Because certain things I
like held on to as I'm moving and packing things up.
Speaker 3 (22:23):
I think that the tape wears off, right, like it
goes bad, like if you.
Speaker 1 (22:28):
Have to I don't have to work. Yeah, if they work.
Speaker 3 (22:31):
But I believe Kikapri was saying some of his tapes
are available on Apple Music, So you know, I think
the DJs have found a way to put their art.
Speaker 1 (22:39):
To digitize that. Yeah, and that's a great thing to
be able to do.
Speaker 2 (22:42):
Because also you you listened to the mixtapes to also
hear the DJ talk, yeah, because you know, and and
we talked about that too, about bringing personality into the mixtape.
Speaker 1 (22:53):
So it wasn't just a drop.
Speaker 2 (22:55):
It was also the DJ like hyping it up, talking
and doing some people talk too much.
Speaker 3 (23:00):
Yeah, However, I just remember it's sort of like stamped
and mark their territory, right, and and I feel like
it really gave way to the remix right when you
think about Roan Gi and what he was doing in
that era. Okay, those those became the remixes of the
records that were out.
Speaker 2 (23:20):
Now, ran g was is definitely somebody who when you
think about mixtapes, you think about Ranji.
Speaker 1 (23:25):
So did you have anything from him? Did you try
to interview him.
Speaker 5 (23:28):
We tried to interview he was scheduling conflict unavailable.
Speaker 8 (23:33):
Okay, I'm sure there were some DJs who reached out
to and pay your respect.
Speaker 6 (23:43):
But a good majority of the DJs, again, it's like
a you know, it's a cool club. I think that
they belonged to right and most of them were very like, hey,
I'll do this, just no problem. If I'm trying to
get in touch with someone else, they would reach out
for me, et CETERA few of them had other things
going on, but we wouldn't be able to tell this
(24:04):
story properly without including Ron whether he was going to
do interview for us or not. So we was gonna
talk about regardless, and I actually told him that I'm
gonna be a part of this bro right.
Speaker 1 (24:12):
Whether you let it or not. Around and Jazzy Joyce
is on there now.
Speaker 2 (24:16):
When it came to these mixtapes, there weren't a lot
of women at that time that I feel like they're
got highlighted.
Speaker 4 (24:22):
Asking the first thing I said, where's the women?
Speaker 5 (24:25):
Where are the women? Molik? I sent to like all
the screeners for some of the interviews, where are the women?
Speaker 2 (24:30):
That's why Ladies Night was really important to us when
they had the show, the radio show Ladies Night, and
that was like a night for the women to finally
like Coco Chanel, Jazzy Joyce, Spinderella was such a big
deal for us. But yeah, so, but even during that time,
I can't recall a lot of mixtapes that were hosted
by women.
Speaker 1 (24:50):
Lazy K, Yeah, lazy K, that would have been good.
Speaker 6 (24:52):
The Murder Mommies, right, they're c Yeah, but I made
sure we had diamond cuts in there.
Speaker 4 (24:59):
So I made him open it up.
Speaker 2 (25:01):
I was like, document all right, and how how was
it getting this picked up?
Speaker 1 (25:08):
Because it is available on Prime.
Speaker 6 (25:10):
Yes, it's available on Amazon, prom Verizon, Files on Demand
and Spectrum. You can go to tailor to tape film
dot com and uh click on the links for there
or just you know search on your subscriber. But you know,
getting it again. We we have a distribution deal with
Buffalo eight. Shout out to them. Thank you Joscelyn Lion
Rose for making that happen. And and yes it's actually
(25:32):
going to be available on a few more platforms in
about two weeks.
Speaker 2 (25:36):
It definitely was great, a great watch, and it was
definitely educational but fun because DJ's personalities are so funny,
you know, shout out to sn s to Cluse.
Speaker 6 (25:56):
I said something in the trailer I repeated in an interview,
and he went in the comments.
Speaker 1 (26:01):
I think he was it that he said he took
his style or something like that. Okay, yeah, and I don't.
Speaker 6 (26:06):
We don't believe that Clue. We don't believe that Clue.
Like he's clues on. Like, you know, he's the Mount
Rushmore of state DJs, you know what I'm saying.
Speaker 2 (26:15):
I mean, he's the one that had a deal with
Rock with Roller, you know, not a lot of and
that was the thing. They were like, we're going to
sign that a bitty war over Clue.
Speaker 5 (26:25):
Yeah, and Clue ended up having his own deal.
Speaker 6 (26:27):
He had my own label deal for other artists he
talks about right with Tommy Mottola.
Speaker 5 (26:32):
I believe in Sony.
Speaker 4 (26:33):
So you're trying to get a clue for part two, Okay.
Speaker 5 (26:37):
Relax and we're gonna make the call.
Speaker 2 (26:41):
Only Clue can fix this, all right, Well, listen, thank
you very much for joining us today, kim My co host.
I appreciate you for showing up, Malik, but we always
love what you do behind the scenes. Making everybody feel
comfortable and working so hard. And your company is Red
Summon TV. Just so people know. So other things that
(27:01):
you're working on, so we know.
Speaker 5 (27:03):
I mean, we're gonna do part two for this, Oh
she was a kidding.
Speaker 1 (27:06):
Yeah, we don't believe it.
Speaker 5 (27:09):
The DVD era.
Speaker 6 (27:11):
We have a lot of the projects that we're working
on in a podcast series called Don't Sell Grandma's House.
Speaker 1 (27:17):
Oh okay, I like it.
Speaker 5 (27:18):
Gentrification and what it does to black families.
Speaker 1 (27:22):
Listen.
Speaker 2 (27:22):
I love real estate conversations and I love homeowner conversations
and generational wealth conversations.
Speaker 1 (27:30):
So I appreciate that. Thank you guys so much.
Speaker 5 (27:32):
Thank you
What's up?
Speaker 2 (00:04):
Its way up at Angela yee, And it's so nice
to meet you, Kim O. Sorry, nice to meet you.
Speaker 1 (00:10):
Malik Buoy is here. Nice to meet you as well.
Speaker 2 (00:12):
No, I actually know both of them, and you guys
have been in this business, you know, for I thought
I was your co host.
Speaker 1 (00:18):
Yeah, you're also my co host, Kim Osorio, I.
Speaker 3 (00:20):
Feel like I feel like you replaced me. I feel
like I've been seeing beat out up here too much.
Speaker 2 (00:25):
So may Know's okay, it's just not beat up what
may Know was before me. Yeah, okay, beat fair enough.
Speaker 4 (00:31):
Shout out to both of them. I love them.
Speaker 1 (00:33):
Yeah.
Speaker 2 (00:33):
So both of you are journalists but also in this
TV world producing, directing all of that. So you also
both have this tail of the tape documentary that you
work down. Now, Malik, this was your baby first.
Speaker 5 (00:48):
Right, yes, okay, well over ago.
Speaker 2 (00:53):
I like when people do documentaries over a period of
time because sometimes I feel like people try to put
a documentary together and it's like a week of interviews.
You no, seriously, because it reminds me of when they
did Hoop Dreams. Oh yeah, remember who Dreams? And that
was over such an extended period of time. So you
got to see a lot of like the progress and
things that happened, and it's a different reaction when something
(01:16):
happens than it is later.
Speaker 5 (01:18):
Yeah, who Dreams? It's funny.
Speaker 6 (01:19):
Who Dreams one of the To me, it is one
of the greatest documentaries ever because its chronicles like four
or five years.
Speaker 5 (01:25):
Our story is a little bit different. You know.
Speaker 6 (01:27):
We were self funded, all out of pocket for this.
So in a perfect world, yes, we would love to
shoot for eight months, edit for four and then you know, release,
but that wasn't the case.
Speaker 2 (01:37):
But you had footage that was from you know, never
before seen footage from back you know, like actually a
decade ago or more.
Speaker 5 (01:45):
Yeah.
Speaker 6 (01:46):
Yeah, just fortunate. You know our film like ninety percent
of it.
Speaker 5 (01:50):
Right, like all out like yeah right, yeah, like.
Speaker 6 (01:54):
The Kendrick stuff, the j Cole stuff, Future the first
time we did an interview, all that stuff that was
me with my camera, So you never.
Speaker 2 (02:02):
Knew where Kenjuck was going to end up, where j
Cole was going to end up, you know, where Future
was going to end up. To see all of them,
like in the Top ten conversation.
Speaker 4 (02:11):
I often say I should have been a camera person, Yeah,
because I would have had.
Speaker 1 (02:16):
Imagine if I'm glad you didn't. Thanks, Anne, I'm so
glad you didn't.
Speaker 4 (02:21):
Like you didn't need a camera with the type it.
Speaker 2 (02:25):
Was kind of drama that was going on, right, But yeah,
you had definitely had the foresight to do that. Now,
when you were filming those interviews, they were just interviews,
like footage you were getting or did you know what
it was eventually going to be for?
Speaker 6 (02:36):
At that point, I knew that I wanted to do
a documentary on mixtape and mixtape culture. I wasn't sure
how to tell the story, and that was the importance
of Kim being able to come in and say, well,
this is how we need to like craft this. When
I did the Kendrick shoot, he was in Atlanta just
kind of doing promo for his mixtape.
Speaker 1 (02:55):
So he was that mixtape was big for him.
Speaker 5 (02:58):
Right section eighty, Yeah, he was.
Speaker 6 (03:00):
He was a co headliner Dom Kennedy was like him
and Dom Kennedy were headlining together. Big Sean to Chain
Side The Prince were openers, and DJ Drama was on
the marquee like he was just like DJ Drama and friends.
I forget what place in Atlanta we were out there
for Hip Hop Awards. So I was like, you know,
I've always been cool with drama from my Rhap City
(03:21):
producing days. He was like, Yo, you want to come
out to this event, DJ, let's go, And it just
happened to be that night. You know, just one of
those things that you know, you uh, just blessed to
be able to be a part of.
Speaker 4 (03:33):
You never know where somebody's going to be And listen
tailor the tape.
Speaker 2 (03:36):
It's all about the importance of mixtapes and how mixtapes
really helped create so many other offspring, so many offshoots
of it. Like I saw in a documentary they were saying,
people start off as a mixtape DJ, but you get
so engrossed in the music, it's inevitable you're going to end.
Speaker 1 (03:52):
Up being a producer, yes, you know at some point.
Speaker 2 (03:55):
And so some of our favorite DJs also ended up
being producers.
Speaker 7 (03:59):
Right, Yeah, he's DJ Yah Swizz Right talked about it
in the dock, and I think, you know, the DJ
and the DJs.
Speaker 3 (04:11):
Have served such an important like part of hip hop,
right even when you think about mixtapes and A and
Ring right, like they were the original A and R's
because they would you know.
Speaker 1 (04:23):
They knew what was Gonn worked in the club, you know,
and another thing.
Speaker 2 (04:29):
And this is so true because look kids today and
we'll talk about the legalities of what happened with mixtapes,
but even as far as getting the exclusives, that was
such a big deal.
Speaker 1 (04:38):
And I saw you guys had Clue on there.
Speaker 2 (04:41):
DJ Clue to me, like coming up, DJ Clue had
some of the I remember the Springtime stick Up.
Speaker 1 (04:46):
I think it was called.
Speaker 2 (04:48):
We all have those mixtapes from our era that were
like reminds us of a period of time where we
were rocking that mixtape the whole summer, you know, and
you just think about that, Like for for you, RELI,
you have to be a little bit.
Speaker 1 (05:01):
I know you want to be unbiased.
Speaker 2 (05:03):
But when you think back to like a mixtape that
had an impact or reminds you of something, what would
you say?
Speaker 6 (05:09):
It would be, Well, my favorite mixtape is dou Op
ninety fives.
Speaker 5 (05:13):
Okay, right, that just sets the tone for me.
Speaker 6 (05:17):
During that time, I was at Morgan State University and
my TTZ brothers we were doing parties. I actually met
you know Envy, who was one of our koeps. He
was at Hampton coming through Clue would come and do parties.
S and S would come and do parties. Ron G
would come and do parties. But that mixtape to me
(05:39):
because it had you know, every artist from.
Speaker 5 (05:42):
You know, the Five Boroughs.
Speaker 6 (05:43):
You had guys that were signed that was going gold
and platinum that were still like, look, I want to
do this mixtape and do Op and his Crewku spit
like that's.
Speaker 2 (05:52):
Just you know, yeah, those do what mixtapes and Tony Touch,
Yeah remember Tony.
Speaker 4 (05:57):
I think Tony Touch.
Speaker 3 (05:58):
I had the that was the first time I've shot
got shouted out on a mix.
Speaker 2 (06:02):
Up they had, you know, but yeah, Clue and we
talked about how exclusive became a thing. You know, at first,
it was like okay, you know, putting together a mixtape
and then getting these.
Speaker 1 (06:18):
You know, these big artists and.
Speaker 2 (06:20):
Getting things first and step that wasn't even out, like
Who's Shatcha?
Speaker 1 (06:24):
They talk about the biggie who Shatcha?
Speaker 2 (06:26):
And sometimes artists would get really mad that you would
get that exclusive from them, like how did you get that?
But then it turned into okay, we're going to have
like all it was like an album of exclusives.
Speaker 3 (06:38):
It evolved over the years, right all the way up
until when you get to the fifty cent era with
what he did with his mixtape, right, that really changed
the way artists promoted themselves and put themselves out there,
predating whatever the label wanted to do. So I think
like we kind of were telling the story of mixtape
culture from the exception to where it is today when
(07:00):
you get to streaming and playlists and that has become
the new mixtape.
Speaker 1 (07:04):
Yeah, we all make our own mixtapes at home all day,
that's all I do.
Speaker 2 (07:07):
It started up with the iPod, right, and then you
put together your iPod playlist.
Speaker 1 (07:12):
And then next thing.
Speaker 2 (07:13):
You know, but even thinking about how technology was so
different back then, so if you wanted to make a
mixtape and sell it, you actually had to physically like
make copies of a tape, a cassette tape.
Speaker 5 (07:26):
Yeah, Bushy B talks about that.
Speaker 6 (07:27):
You know, he was at the rooftop selling his mixtape.
So he would record his set on one week and
then the next seven days before he gets back there,
he's literally duplicating it one by one with a machine
and going back and selling them. So and then you know,
you fast forward to Clue Envy, who then have like
(07:48):
ten machines and DVD DVD duplicators, and you know, they
figured out a real distribution system for it.
Speaker 1 (07:56):
We're gonna figure it out, they did.
Speaker 3 (07:58):
Like I used to actually have a mixtape mag I
don't think I spoke about this before, where these guys
who were duplicating mixtapes. Listen, it was it was a period.
I had a mixtape magazine. Fabulous was on the cover,
like you know, we we were putting it out. But
they were they were doing what they were doing with mixtapes,
(08:20):
right and I think this was around two thousand and five,
two thousand and six, and they had the the warehouse
I guess where they were doing it from in the
Bronx right there before you go over anyway, So they
they were paying me to put a magazine together to
a company, like the mixtapes they were putting.
Speaker 1 (08:41):
Outlet's say bundling.
Speaker 5 (08:47):
It's a real industry and economy behind it.
Speaker 6 (08:50):
Like you know, these guys were taking care of themselves
and their families off these tapes.
Speaker 2 (08:54):
I remember people used to get a mixtape and I
would make a copy of their mixtape because you could
just yeah, you just yeah.
Speaker 3 (09:00):
You cover the holes the tape over the holes and
then you put.
Speaker 1 (09:05):
It in you know what.
Speaker 2 (09:07):
And I remember this one mixtape I had that I
played so much. It was like a dance hall mixtape
and the DJ yes, right because it would have like
all the hits, you know. I think it Rated R
was his name. I think it was him that had
a mixtape. But you know, it's just so interesting to
me because some people would feel like the DJ is
(09:30):
it's just different now.
Speaker 1 (09:32):
You know.
Speaker 2 (09:32):
Back then DJ's were like the biggest celebrities. You literally
were paying them like a ton of money, you know,
and now it's just kind of more like celebrity DJs
or the competition to go and DJ in the club,
and it's just you know, it's hard to explain. But
remember like Bismarcky would come in DJ and he'll get
(09:53):
a ton of money. Kick Capri would get a ton
of money to come in DJ, and I feel like,
it's just, you know, I can't the difference now.
Speaker 3 (10:01):
I think I think that that when, at least for
us in New York, when the club culture was so crazy, right,
they were the real celebrities, right because if you knew
the DJ, he was getting with the DJ right with
the club, you could sit in the booth, you could
watch the entire party and you can be seen. So
like they were the figures in hip hop that everybody
(10:22):
needed to know. They were the gatekeepers, right, and I
think they're still the gatekeepers. It's just that the game
has changed along with technology, right, So like real authentic DJs,
they're going to evolve with the time.
Speaker 4 (10:35):
They're going to be sure they're up to speed on that.
Speaker 2 (10:38):
Because even if you think about breaking records, it used
to be like a DJ with breaker record.
Speaker 1 (10:42):
Now that doesn't happen.
Speaker 4 (10:44):
The Internet.
Speaker 1 (10:44):
Yeah, the Internet and a.
Speaker 6 (10:46):
Lot of these DJs you know from Clue, env s
Ca Capri, they're all still booked all.
Speaker 5 (10:53):
The time, you know what I mean?
Speaker 6 (10:55):
Just the mix the mixtape game has changed so much
to where it's practically non existent, right.
Speaker 1 (11:00):
But I will say the club scene has changed too.
Speaker 4 (11:02):
The club scene has definitely changed.
Speaker 2 (11:03):
You know for sure, because New York used to be lit.
It was they used to be lit, and.
Speaker 1 (11:08):
Now it's kind of like we go to a lounge.
It's not the same thing.
Speaker 2 (11:12):
We don't have a tunnel like, but the tunnel was huge.
There's thousands of people in there. We don't maybe like
the what's it called Carbon or Exit that club that's
on the West side, I don't know, a.
Speaker 1 (11:27):
Parlor whatever, like some sort of They keep changing the
name of it.
Speaker 4 (11:31):
All the kids go to that. I call them kids.
Speaker 1 (11:33):
They're like twenty eight kidle outside though, she went to
go see a boogie.
Speaker 4 (11:37):
I sure did shout out to Ella. But it was amazing.
It was a great concerto.
Speaker 1 (11:45):
And you know, so I feel like things have more.
Speaker 2 (11:47):
And then remember I felt like the big thing ended
up being SoundCloud after that, Yeah, you know, I guess Linemark.
Speaker 1 (11:53):
SoundCloud.
Speaker 2 (11:54):
Though SoundCloud is like where artists are kind of we're
getting discovered.
Speaker 1 (11:58):
Its SoundCloud still a.
Speaker 3 (11:59):
Thing I don't know as much right, Like I've never
really understood.
Speaker 4 (12:04):
I love the I love the nod from the side.
Speaker 1 (12:07):
Yes, yes, he definitely pays attention to all of that.
Speaker 6 (12:12):
I think artists just decided to take everything into their
own hands. After looking at what fifty did and Dip
said and Joe Butten did, they were like, we can
do this. And then that's how you have the Kendricks,
j Coles and and a Sap and those guys.
Speaker 3 (12:25):
And the sound evolves because a SoundCloud artist is like
the specific sound right, like, I feel like I can
tell a SoundCloud rapper. Maybe I'm I'm thinking of like
the Emo rap that kind of.
Speaker 4 (12:39):
It's just crazy to me, it's like sound Cloud.
Speaker 2 (12:42):
And what I didn't realize was that who kid grew
up next door to Envy right by Clue, So a
lot of these DJs really did know from Queens. Yeah,
but it was a very competitive thing too.
Speaker 5 (12:54):
Yeah, yeah, yeah, absolutely.
Speaker 6 (12:56):
You know I always say football players are from Texas
and DJs are from Queens.
Speaker 4 (13:00):
Funny, that's funny.
Speaker 3 (13:01):
Yeah.
Speaker 2 (13:01):
And fifty cent, you know, he was a huge part
of how labels also started signing exact artists, and you
guys talk about that on the documentary too.
Speaker 1 (13:10):
You have a lot of exclusive interviews.
Speaker 2 (13:13):
So at the time, I'm just wondering from a business perspective,
how does this work? Like do you get the sign
off then and then you're good or did you have
to circle back and be like just so you know,
we're putting this out.
Speaker 6 (13:22):
So the beautiful thing about when you interview these guys
really early, they was just sign whatever, right, They're just
like like it's cool.
Speaker 5 (13:28):
It's not you don't they don't have twenty people around them.
Speaker 6 (13:31):
You know what I mean, you don't. They don't have
twenty people around them. That's like, oh, let us get
back to you and things like that. It's funny because
Jake Cole actually was I think that was the right
after us we interviewed him there in the park near
Saint John's because that's where you went to school. Like
two weeks later, we're directing the music video for Consequence,
and he was like an.
Speaker 5 (13:50):
Extra, so he was like he was blinded. He was blinded.
Speaker 3 (13:54):
Yes, the circle back is never going to work if
you get an interview and then you got to circle back.
Speaker 1 (13:58):
And look at it. I gotta have my lawyers looking
at it.
Speaker 4 (14:02):
Forget about it. You ain't getting it.
Speaker 5 (14:04):
Yeah. Also, you know we there's nothing slanderous for any
of these guys.
Speaker 1 (14:07):
Yeah, yeah, there's nothing they should upset about.
Speaker 2 (14:10):
And the thing that's but that's good advice for anybody
now who's outside with the camera doing interviews. Make sure
you get that sign off because if you ever want
to use that footage later on, it's going to be difficult.
Speaker 4 (14:21):
Or you can get them to look into the camera.
Speaker 1 (14:23):
And say I give permission, I give my permission. Just
don't lose that foot.
Speaker 6 (14:27):
Actually and and and cable cast signs that we put
out normally, like you just kind of put up a
disclaimer around where you're filming.
Speaker 4 (14:33):
You film that, ye, producer, producer workarounds.
Speaker 2 (14:36):
Now, I remember when this whole mixtape era had to
come to an end for legal issues, and DJ drama
was definitely at the center of it. And that gets
addressed here too, so explaining why mixtapes actually ended up
becoming you know, it was a leg like you could
do them, but you had it was it became too
(14:57):
much of a burden. You could do it if you
got the sign of say what right, and if you
sold it through.
Speaker 3 (15:03):
Well, when you think about the clearance of the music,
that's where it becomes an issue because you're selling the
music and who's profiting off of that and the artist
isn't profiting, So it's there's all this legality involved in it,
which is why remember when they used to put the
like they would say it was here, it's for promotional
(15:23):
use only, right, say that right, for promotional use only,
But give me twenty dollars.
Speaker 4 (15:29):
You know what I'm saying.
Speaker 1 (15:30):
You know, so.
Speaker 4 (15:34):
Exactly so, And look, we're hustlers, and I think in
hip hop.
Speaker 3 (15:38):
We gotta figure out a way because somebody's always eating.
Speaker 4 (15:41):
Off of the our creative and I.
Speaker 3 (15:44):
Think the blending, right that mixtapes showcase like that was.
Speaker 4 (15:49):
An art in and of itself.
Speaker 3 (15:51):
So that's what I as a mixtape fan, that's what
I'm paying for. I'm not paying just to hear this
record on the tape. And that goes down like back
to the nineties when I came up in the game,
and like when I was purchasing mixtapes, I was buying
it for the blends.
Speaker 2 (16:06):
Right, that would be fun test smooth. He always did
really great blends too. It still does great mixes, yeah,
he does, because you want to hear like this beat
under this these vocals.
Speaker 1 (16:16):
And you're like, why do I sound way?
Speaker 2 (16:17):
You know that sound fly when you use this, But
legally you can't really just do.
Speaker 4 (16:22):
It, but you know, like.
Speaker 3 (16:25):
You know, but we were all experimenting, I think with
music back then. You know, I used to think I
would wanted to be a DJ.
Speaker 4 (16:33):
Yeah, yeah, I saw my turntable.
Speaker 1 (16:36):
Here we go, where was it? It was just my name, Kim.
Speaker 2 (16:44):
You know, and I was just showing Kim, I have
my turntables in my basement. Still, I just set everything
up and my vinyl.
Speaker 5 (16:50):
You know.
Speaker 2 (16:50):
I got my turntables from DJ Mugs from Cypress Hill.
I had did a photo shoot for him, uh when
he had uh when he had a project out, and
he was like, oh, what can I.
Speaker 1 (17:01):
Get for you, like as a thank you?
Speaker 2 (17:02):
Because I got it all paid for through this clothing
line and he it was a Soul Assassin's mixtape.
Speaker 1 (17:08):
I mean, I'm album and so he ended up I
was album. Oh they did. I gotta go back and
flash back to that.
Speaker 4 (17:16):
Yeahs.
Speaker 3 (17:20):
But I remember thinking I was like I don't even
know DJ Mugs, Like what the fuck is this?
Speaker 2 (17:24):
But well, anyway, he was at where you went and
he had to deal with new Mark.
Speaker 1 (17:31):
So I got the turntables you know, from him.
Speaker 4 (17:34):
So this is pre recorder, right Dan?
Speaker 1 (17:36):
Yeah, you're fine, You're fine him you Curtsey, I did?
Speaker 3 (17:38):
I did you see how it gets when you take
me back to the days of mine.
Speaker 1 (17:42):
And you know what's interesting?
Speaker 2 (17:43):
And then when I got my turntables, I remember like
so many DJs were helpful. I went to Pete Rock's
house to go pick up some records because he was like,
you can come get some Records, special K and Teddy
ted gave me a bunch of vinyl. It was a
few different DJs. They were like, come on, we got
some vinyl, Like come and get some Wow. You know,
Biddy used to carry my crates.
Speaker 5 (18:03):
I love that you got axe.
Speaker 1 (18:06):
You said, I do. Yeah, I'm not trying to get sued,
but you're right.
Speaker 5 (18:11):
It did.
Speaker 2 (18:11):
Used to say for promotional use only, so that was
the only way that they could work around that. But
let's talk about the legal drama, because then DJ Drama
his studio got raided and he had no idea that
he was even doing anything wrong, according to him, right.
Speaker 6 (18:25):
I think also it's like you have corporations where the
departments aren't talking to each other, right, because at the
end of the day, a lot of these big tapes
that he were doing, some of them were promotion for
the actual label. So you have part of the label
that's like here you go, here's these here's this music
for us, and then you have another part that's like, hey,
(18:48):
what's going on over here? You know, And he was
just really caught up in the technicality and for them
to try to for them to come to his studio
with guns drawn and use such brute force over CDs
and DVD.
Speaker 5 (19:00):
He was crazy.
Speaker 2 (19:01):
Yeah, that was wow because he did you said, first
of all, I used to cost money for him to
even do the Against the Grills mixtape, like you want
against the Grills, this is what it costs for me
to even do this for you, you know, And and
that was But it was a great promotional tool because
it was always like the mixtape.
Speaker 1 (19:16):
Before the album.
Speaker 2 (19:18):
And for some yeah, and for some people, the mixtape
was better than the album.
Speaker 1 (19:23):
Some people would say for for a lot of artists.
Speaker 6 (19:25):
I mean, you know, artist gets to just you know,
express themselves organically without any interference. That was the beauty
of certain mixtapes. I don't know how if Drama was
quote unquote charging for his services, I.
Speaker 5 (19:39):
Just want to put that out there. That was one
of my first interviews.
Speaker 6 (19:42):
But job say that, but you know his but he
should also monetize all off of his brand.
Speaker 5 (19:50):
That is probably one of the strongest brands in hip hop.
Speaker 1 (19:54):
Against the Girls mixtapes.
Speaker 4 (19:55):
I can't do interviews with my friends anymore.
Speaker 5 (19:58):
I just want to make sure he already had.
Speaker 2 (20:00):
I don't want to, but it was like there's certain
and I don't think every artist he whichis. But if
it was like an artist a label was pushing we
want to get against the Grill's mixtape, why would.
Speaker 1 (20:11):
He do it for free?
Speaker 5 (20:12):
No?
Speaker 6 (20:12):
Absolutely, absolutely right, Yeah, at least got a consult on,
like which song should make the tape and there's a sorry.
Speaker 1 (20:20):
I mean it's all we love hearing this time.
Speaker 3 (20:25):
You don't want no drama because you know they come
for you.
Speaker 1 (20:29):
I know they do.
Speaker 2 (20:30):
And who Kid And I remember Who Kid always talks
about the time that he got stuffed in the trunk.
Speaker 1 (20:37):
Yes, but I can't remember what's that? Over some mixtape
stuff too?
Speaker 5 (20:41):
Yeah, I believe it was over something with Big Pun.
Speaker 1 (20:45):
Yeah, I mean it was not a game.
Speaker 4 (20:47):
What a Terror Squad wasn't to be played with. Still,
I remember being in the clubs back then. I'm like, okay,
it's time.
Speaker 1 (20:54):
For their hair gotta go. Something's about to have out.
Speaker 4 (20:57):
Like I love Terror Squad right from all the way
back then.
Speaker 3 (21:00):
But I remember, you know, I would see them in action,
I'd be like, Okay, they're really about what they say.
Speaker 4 (21:08):
Let me exist.
Speaker 2 (21:10):
And even if you think about like Nicki Minaj and
beat Me Up Scottie, that was a huge mixtape, you know,
if you think about that, that was like that was
like an album.
Speaker 4 (21:20):
Yeah, it was.
Speaker 6 (21:20):
It was I think at that time, I was I
think we just stopped doing Rhap City. We were doing
the deal with the Mith hits and Diamond Cuts, and
we had her on just based off of that. You know,
we was like, look, we we gotta we gotta get on,
we gotta get on here she has a spit of
freestyle for us. But that mixtape I think was the
(21:41):
one that like quote unquote launched her career.
Speaker 1 (21:43):
Yeah. Absolutely.
Speaker 2 (21:45):
They used to have the digital magazines to remember that,
so it would be like the mixtape and then the
artists would be in like one of those digital magazines, right,
but it was like a DVD magazine like ePK. Yeah, yeah,
yeah kind of thing.
Speaker 4 (21:57):
That's what that was. That was one was paying me
on the sid.
Speaker 1 (22:01):
You gotta love it.
Speaker 2 (22:02):
Well, Honestly, this was an interesting watch for me just
because I come from that era too, and it definitely
flashed me back to a lot of times. Yeah, a
lot of good times, a lot of great mixtapes. Now
made me want to go home and see, like do
I still have some of those? Because certain things I
like held on to as I'm moving and packing things up.
Speaker 3 (22:23):
I think that the tape wears off, right, like it
goes bad, like if you.
Speaker 1 (22:28):
Have to I don't have to work. Yeah, if they work.
Speaker 3 (22:31):
But I believe Kikapri was saying some of his tapes
are available on Apple Music, So you know, I think
the DJs have found a way to put their art.
Speaker 1 (22:39):
To digitize that. Yeah, and that's a great thing to
be able to do.
Speaker 2 (22:42):
Because also you you listened to the mixtapes to also
hear the DJ talk, yeah, because you know, and and
we talked about that too, about bringing personality into the mixtape.
Speaker 1 (22:53):
So it wasn't just a drop.
Speaker 2 (22:55):
It was also the DJ like hyping it up, talking
and doing some people talk too much.
Speaker 3 (23:00):
Yeah, However, I just remember it's sort of like stamped
and mark their territory, right, and and I feel like
it really gave way to the remix right when you
think about Roan Gi and what he was doing in
that era. Okay, those those became the remixes of the
records that were out.
Speaker 2 (23:20):
Now, ran g was is definitely somebody who when you
think about mixtapes, you think about Ranji.
Speaker 1 (23:25):
So did you have anything from him? Did you try
to interview him.
Speaker 5 (23:28):
We tried to interview he was scheduling conflict unavailable.
Speaker 8 (23:33):
Okay, I'm sure there were some DJs who reached out
to and pay your respect.
Speaker 6 (23:43):
But a good majority of the DJs, again, it's like
a you know, it's a cool club. I think that
they belonged to right and most of them were very like, hey,
I'll do this, just no problem. If I'm trying to
get in touch with someone else, they would reach out
for me, et CETERA few of them had other things
going on, but we wouldn't be able to tell this
(24:04):
story properly without including Ron whether he was going to
do interview for us or not. So we was gonna
talk about regardless, and I actually told him that I'm
gonna be a part of this bro right.
Speaker 1 (24:12):
Whether you let it or not. Around and Jazzy Joyce
is on there now.
Speaker 2 (24:16):
When it came to these mixtapes, there weren't a lot
of women at that time that I feel like they're
got highlighted.
Speaker 4 (24:22):
Asking the first thing I said, where's the women?
Speaker 5 (24:25):
Where are the women? Molik? I sent to like all
the screeners for some of the interviews, where are the women?
Speaker 2 (24:30):
That's why Ladies Night was really important to us when
they had the show, the radio show Ladies Night, and
that was like a night for the women to finally
like Coco Chanel, Jazzy Joyce, Spinderella was such a big
deal for us. But yeah, so, but even during that time,
I can't recall a lot of mixtapes that were hosted
by women.
Speaker 1 (24:50):
Lazy K, Yeah, lazy K, that would have been good.
Speaker 6 (24:52):
The Murder Mommies, right, they're c Yeah, but I made
sure we had diamond cuts in there.
Speaker 4 (24:59):
So I made him open it up.
Speaker 2 (25:01):
I was like, document all right, and how how was
it getting this picked up?
Speaker 1 (25:08):
Because it is available on Prime.
Speaker 6 (25:10):
Yes, it's available on Amazon, prom Verizon, Files on Demand
and Spectrum. You can go to tailor to tape film
dot com and uh click on the links for there
or just you know search on your subscriber. But you know,
getting it again. We we have a distribution deal with
Buffalo eight. Shout out to them. Thank you Joscelyn Lion
Rose for making that happen. And and yes it's actually
(25:32):
going to be available on a few more platforms in
about two weeks.
Speaker 2 (25:36):
It definitely was great, a great watch, and it was
definitely educational but fun because DJ's personalities are so funny,
you know, shout out to sn s to Cluse.
Speaker 6 (25:56):
I said something in the trailer I repeated in an interview,
and he went in the comments.
Speaker 1 (26:01):
I think he was it that he said he took
his style or something like that. Okay, yeah, and I don't.
Speaker 6 (26:06):
We don't believe that Clue. We don't believe that Clue.
Like he's clues on. Like, you know, he's the Mount
Rushmore of state DJs, you know what I'm saying.
Speaker 2 (26:15):
I mean, he's the one that had a deal with
Rock with Roller, you know, not a lot of and
that was the thing. They were like, we're going to
sign that a bitty war over Clue.
Speaker 5 (26:25):
Yeah, and Clue ended up having his own deal.
Speaker 6 (26:27):
He had my own label deal for other artists he
talks about right with Tommy Mottola.
Speaker 5 (26:32):
I believe in Sony.
Speaker 4 (26:33):
So you're trying to get a clue for part two, Okay.
Speaker 5 (26:37):
Relax and we're gonna make the call.
Speaker 2 (26:41):
Only Clue can fix this, all right, Well, listen, thank
you very much for joining us today, kim My co host.
I appreciate you for showing up, Malik, but we always
love what you do behind the scenes. Making everybody feel
comfortable and working so hard. And your company is Red
Summon TV. Just so people know. So other things that
(27:01):
you're working on, so we know.
Speaker 5 (27:03):
I mean, we're gonna do part two for this, Oh
she was a kidding.
Speaker 1 (27:06):
Yeah, we don't believe it.
Speaker 5 (27:09):
The DVD era.
Speaker 6 (27:11):
We have a lot of the projects that we're working
on in a podcast series called Don't Sell Grandma's House.
Speaker 1 (27:17):
Oh okay, I like it.
Speaker 5 (27:18):
Gentrification and what it does to black families.
Speaker 1 (27:22):
Listen.
Speaker 2 (27:22):
I love real estate conversations and I love homeowner conversations
and generational wealth conversations.
Speaker 1 (27:30):
So I appreciate that. Thank you guys so much.
Speaker 5 (27:32):
Thank you
Way Up With Angela Yee News
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Angela Yee
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