Latest / The Breakfast Club / INTERVIEW: Kim Osario & Malik Buie On The History Of Mixtapes, The DJ's Influence On Hip Hop + More

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INTERVIEW: Kim Osario & Malik Buie On The History Of Mixtapes, The DJ's Influence On Hip Hop + More · The Breakfast Club

• 0:00
  Speaker 1: Wake that ass up in the morning, The Breakfast Club Morning,
• 0:05
  Speaker 1: Everybody's DJ, Envy Jess hilarious, Charlamagne the guy. We are
• 0:09
  Speaker 1: the Breakfast Club. He got some special guest in the building.
• 0:12
  Speaker 1: We have Kim Osorryo, the legendary, the legendary Kim Osorio.
• 0:16
  Speaker 2: Welcome, Kim, good morning.
• 0:17
  Speaker 1: And also Malik bo He Welcome. How you feeling? Now?
• 0:20
  Speaker 1: They have a new documentary, Tale of the Tape. I'm
• 0:23
  Speaker 1: about to say we Tale of the Tape, How the
• 0:26
  Speaker 1: Mixtape revolutionized hip hop, which I'm an executive producer on
• 0:29
  Speaker 1: as well. Welcome, Thank you?
• 0:32
  Speaker 2: Did I mess up the whole time?
• 0:33
  Speaker 1: You good?
• 0:34
  Speaker 3: Thanks for having us.
• 0:35
  Speaker 1: Why do they still call him mixtapes?
• 0:38
  Speaker 2: Do they still call him mix taps?
• 0:40
  Speaker 1: Even to this day, there's no mixing. They not on tapes.
• 0:42
  Speaker 3: It's mixed shows now now it's mix shows.
• 0:44
  Speaker 1: Yeah, that's true. They were mixing back then. But it
• 0:47
  Speaker 1: talks about the I guess how the mixtape game and
• 0:50
  Speaker 1: how the mixtape started. So it starts from the beginning
• 0:52
  Speaker 1: from Bruce E b Uh DJ and parties and how
• 0:56
  Speaker 1: people started and how it became so popular. So before
• 0:59
  Speaker 1: we get into that, let's let's tell people who you are.
• 1:01
  Speaker 1: Let's talk with you, Kim. Kim, you had a legendary
• 1:04
  Speaker 1: career for people that don't know, tell them where it
• 1:05
  Speaker 1: started and everything like that.
• 1:07
  Speaker 4: It all started in the Bronx hip hop Now. Yeah,
• 1:13
  Speaker 4: you know a lot of people know me from the
• 1:14
  Speaker 4: Source magazine. So I was the former editor in chief
• 1:16
  Speaker 4: of the Source magazine. But today I work primarily in
• 1:19
  Speaker 4: television right, producing passion projects such as this one, but
• 1:23
  Speaker 4: also a lot of projects that you're familiar with. People
• 1:26
  Speaker 4: know me today from the impact New York love and
• 1:29
  Speaker 4: hip hop, growing up hip hop. You know your favorite
• 1:31
  Speaker 4: reality shows, that's right.
• 1:33
  Speaker 1: Emlie oh Man.
• 1:34
  Speaker 3: I'm a director of producer, owner, operator of Red Summer TV.
• 1:39
  Speaker 3: Been in the game a long time telling stories. Used
• 1:41
  Speaker 3: to work at every platform, produced for Rap City, one
• 1:44
  Speaker 3: O six, et cetera. But now I do everything through
• 1:46
  Speaker 3: my company and who was happy to have Kim come
• 1:49
  Speaker 3: aboard for this project.
• 1:51
  Speaker 1: Now, before we get to the mixed it, what do
• 1:53
  Speaker 1: you think about the landscaping of TV? Now? You mentioned
• 1:56
  Speaker 1: rap City, you mentioned music shows one O six in park.
• 1:59
  Speaker 1: We don't have that anymore.
• 2:01
  Speaker 3: Nah, I think it's all going away of the streamer.
• 2:03
  Speaker 3: To be honest, you know, you look at a kid
• 2:05
  Speaker 3: like conson it like he is what today's music cos
• 2:10
  Speaker 3: you know, he is what the rhap cities or the
• 2:12
  Speaker 3: one o sixes are like. He gets all the big guests,
• 2:14
  Speaker 3: they come there, they all come to him, and I
• 2:16
  Speaker 3: think that's you know, that's just uh, you know what technology.
• 2:19
  Speaker 5: Did and and academics breaking the music, yes, over the
• 2:22
  Speaker 5: last few weeks, and you know that's that's that's a
• 2:24
  Speaker 5: new new aspect of it.
• 2:26
  Speaker 1: And with you, Kim, you know, of course you were
• 2:29
  Speaker 1: running the Source magazine, and magazines were so big back then.
• 2:32
  Speaker 1: I remember you would wait for the new magazine to
• 2:34
  Speaker 1: come out to see who's on the cover and the articles.
• 2:36
  Speaker 1: But you don't have that, No, doesn't exist anymore.
• 2:39
  Speaker 4: Like you said, the landscape has changed, right, it's almost
• 2:42
  Speaker 4: like direct to consumer. People are talking to and as storytellers, right,
• 2:48
  Speaker 4: I think we've all kind of come up in this game,
• 2:50
  Speaker 4: watching consuming telling our favorite stories. Nowadays, you see how
• 2:55
  Speaker 4: easily the narrative can change, right, just because people can
• 2:59
  Speaker 4: get online and go and say whatever they want to say.
• 3:03
  Speaker 4: I was just having a conversation about it about a
• 3:05
  Speaker 4: story that I thought was fake out there.
• 3:07
  Speaker 2: So it has definitely changed.
• 3:09
  Speaker 4: I think we have to be better protectors of our
• 3:12
  Speaker 4: stories and our culture. That's one of the reasons why
• 3:14
  Speaker 4: we decided to do this documentary.
• 3:17
  Speaker 5: Well, nobody cares about the truth, and the lie is
• 3:19
  Speaker 5: more entertaining either, Right. So it's like these people that
• 3:21
  Speaker 5: are creating these thaty they'll talk about storytellers. They're aut
• 3:24
  Speaker 5: here telling these fictional tales that the internet loves. So
• 3:27
  Speaker 5: how can you compete if you out here wanting to
• 3:29
  Speaker 5: tell the truth.
• 3:30
  Speaker 3: I know it seems like it's all for clicks, but
• 3:32
  Speaker 3: you know, I'm a firm believer that you gott to
• 3:33
  Speaker 3: stand strong and what it is that you do, and eventually,
• 3:37
  Speaker 3: you know, you get the notoriity that you're looking for.
• 3:40
  Speaker 1: I agree. Now, let's break down the Tale of the Tape?
• 3:44
  Speaker 1: What made you guys want to do the Tale of
• 3:46
  Speaker 1: the Tape came? I didn't think you were a DJ.
• 3:48
  Speaker 2: First of all, don't play with me. I used to
• 3:50
  Speaker 2: have turntables, right, did you, Yes? I sold them.
• 3:53
  Speaker 4: I needed to sell them at one Christmas back in
• 3:56
  Speaker 4: the nineties that that I didn't have any money to
• 3:58
  Speaker 4: buy gifts.
• 3:59
  Speaker 2: I sold my turn table and I still regret it.
• 4:01
  Speaker 2: Why do you want to do that.
• 4:04
  Speaker 4: You think I can't dj. No, Like, I love DJing.
• 4:12
  Speaker 4: I'm a huge You don't.
• 4:13
  Speaker 3: Even know what that.
• 4:14
  Speaker 2: First of all, I was the first person that ever
• 4:17
  Speaker 2: put you in the Source.
• 4:18
  Speaker 1: Man.
• 4:20
  Speaker 4: They brought a very young DJ Envy to me and
• 4:22
  Speaker 4: said this is the next guy.
• 4:24
  Speaker 2: And I was like, oh, look at.
• 4:26
  Speaker 4: This page person, let us be my brother, and I said,
• 4:30
  Speaker 4: let me put and we followed your career at the
• 4:33
  Speaker 4: Source back then. Right, support it, But you know, I
• 4:35
  Speaker 4: think that during that time, right, DJing was such it
• 4:41
  Speaker 4: was such an important part of the culture.
• 4:43
  Speaker 2: I'm not saying it isn't now.
• 4:44
  Speaker 4: It's just that it doesn't get as much shine, right,
• 4:46
  Speaker 4: So I feel like it's our responsibility to do that.
• 4:49
  Speaker 4: So I'm a huge fan of DJing, like I've always been, Like,
• 4:53
  Speaker 4: I'm the type of person that sends playlists to people,
• 4:56
  Speaker 4: Like if you're like really close to me, you know
• 4:58
  Speaker 4: that about me, you know what I'm saying, and CNV.
• 5:01
  Speaker 2: You straight away.
• 5:02
  Speaker 4: Over the years, you ain't want to call nobody, so
• 5:04
  Speaker 4: I don't send you my playlist. But I'm that to
• 5:06
  Speaker 4: I build playlists, and I think that like that's almost
• 5:09
  Speaker 4: like the new mixtape when we think about it.
• 5:11
  Speaker 2: But I just love music.
• 5:12
  Speaker 4: I love DJ culture, and so it was a project
• 5:14
  Speaker 4: that I wanted to get down with.
• 5:15
  Speaker 3: Do you think.
• 5:16
  Speaker 5: DJ's having adapted to these new distribution platforms, meaning like
• 5:24
  Speaker 5: when you saw over the Pandemic, when d Nice was
• 5:26
  Speaker 5: on Instagram Live, people cared about DJing.
• 5:29
  Speaker 2: That was great.
• 5:30
  Speaker 5: So it's like now these DJs they want to do radio,
• 5:32
  Speaker 5: they want to do clubs. That's about it. Like why
• 5:36
  Speaker 5: aren't they Why aren't they on more Instagram Live? Why
• 5:38
  Speaker 5: they aren't the DJ screaming there make shures?
• 5:40
  Speaker 4: Well, some of these people that got DJ in front
• 5:42
  Speaker 4: of their name, let's keep it a hundred. They really
• 5:46
  Speaker 4: and they're not in it for the love of DJing,
• 5:49
  Speaker 4: right the way that we watched the real DJs get
• 5:52
  Speaker 4: on live during the pandemic and go crazy.
• 5:57
  Speaker 2: They're in it because.
• 5:58
  Speaker 4: And it's not just DJ's right, but they're in it
• 6:00
  Speaker 4: because of the fame.
• 6:01
  Speaker 2: There's a lot of cloud there's a lot of cloud.
• 6:03
  Speaker 4: Chases out there, so you have that where you know,
• 6:07
  Speaker 4: unfortunately people are are using it as a way to
• 6:10
  Speaker 4: get in.
• 6:10
  Speaker 3: And you want to brand attach wouldn't brand attached to
• 6:13
  Speaker 3: it to what they're doing? And if that's not it,
• 6:14
  Speaker 3: they don't want to do it. That's not how it
• 6:16
  Speaker 3: was originally when mixtapes were being conceived, when guys like
• 6:20
  Speaker 3: you know, the Brucey B's and Kick, they was doing
• 6:22
  Speaker 3: it for the love of the music strictly.
• 6:24
  Speaker 1: Now, you guys started this project years ago, many years ago. Yeah,
• 6:28
  Speaker 1: you could tell from j Cole that doesn't have a dreads.
• 6:31
  Speaker 1: Neither does Kendrick.
• 6:32
  Speaker 2: I don't think you got any facial definitely, I don't have.
• 6:37
  Speaker 5: The products were all the products that they used now
• 6:38
  Speaker 5: weren't out back then. Joe got the rewind and now
• 6:43
  Speaker 5: you know that wasn't around when y'all probably started.
• 6:46
  Speaker 1: So, so you know, why did it take so long
• 6:48
  Speaker 1: to actually get it out?
• 6:50
  Speaker 3: Like him said, this was a this is a passion
• 6:52
  Speaker 3: project right self funded. You know, it started because of
• 6:57
  Speaker 3: you know, me being a storyteller. Everywhere I went, you know,
• 7:01
  Speaker 3: interviewing and documenting, whether it was artists, whether it was
• 7:04
  Speaker 3: DJ's The connective tissue was always the mixtape. You know,
• 7:07
  Speaker 3: That's how everybody either got their start in some way, shape,
• 7:10
  Speaker 3: form or fashion. And I was like, we have to
• 7:12
  Speaker 3: tell his story. So a lot of some of those
• 7:15
  Speaker 3: interviews were on the back end. Of certain certain certain productions,
• 7:18
  Speaker 3: you know what I mean. And yeah, so you know,
• 7:21
  Speaker 3: we're very happy that, you know, we were able to
• 7:23
  Speaker 3: like fully craft into the story that.
• 7:25
  Speaker 1: It is now watching this, uh, you know, you realize
• 7:29
  Speaker 1: that Brucey B was kind of the creator of the mixtape.
• 7:32
  Speaker 1: He doesn't get a lot of the the accolades and
• 7:34
  Speaker 1: shine as he should. So how it was talking to
• 7:37
  Speaker 1: Brucey B. If you don't know who Brucey B was,
• 7:39
  Speaker 1: he was a d J. I don't know if he's
• 7:40
  Speaker 1: from Harlem and the Bronx because I always Harlem and
• 7:43
  Speaker 1: Bronx is the same to me.
• 7:44
  Speaker 4: I'm Queens, you know what with people from Queens, because
• 7:48
  Speaker 4: but we do claim Harlem, thank you very much. As
• 7:50
  Speaker 4: Bronx people. We also will claim the locks from the Ankers.
• 7:53
  Speaker 4: That's all part of like collectively we're uptown. Okay, Yeah,
• 7:59
  Speaker 4: so married the locks, Diddy Bronx were claiming all of that.
• 8:02
  Speaker 4: It started with us, remember, and then we let y'all.
• 8:05
  Speaker 2: And Queen's do what y'all did. Hey, listen, y'all took
• 8:08
  Speaker 2: it to a whole nother level.
• 8:09
  Speaker 4: I will give you that. I will give you that,
• 8:11
  Speaker 4: but I think he is from Harlem.
• 8:13
  Speaker 2: Right.
• 8:13
  Speaker 1: Yeah, So so talk about Brucey B and how it
• 8:16
  Speaker 1: how it was created.
• 8:18
  Speaker 3: I mean, first of all, shout out to Brucey B.
• 8:20
  Speaker 3: He was, you know, really really inviting. I just got
• 8:23
  Speaker 3: his number through a friend and gave McCall and said, look,
• 8:26
  Speaker 3: I want to I want to do your interview. Cool,
• 8:28
  Speaker 3: what time and where? You know, his story is so
• 8:31
  Speaker 3: dope because you know, he was that guy for from
• 8:34
  Speaker 3: the rooftop, right, that legendary club which I guess like
• 8:37
  Speaker 3: you know what the tunnel was for us something like that.
• 8:40
  Speaker 3: But it was a painstaking process to like actually record
• 8:43
  Speaker 3: his mixes and then spend the whole week duplicating one
• 8:48
  Speaker 3: by one by one, right, and then selling them that
• 8:51
  Speaker 3: next week. The only other way to make you know,
• 8:53
  Speaker 3: the ways he was making extra money was like hustler
• 8:55
  Speaker 3: dude saying, Yo, can you shout my name out? He's
• 8:57
  Speaker 3: charging extra for that, you know, And it's just dope
• 9:00
  Speaker 3: as we follow it in a linear process, so we
• 9:03
  Speaker 3: get to like, you know, you including you guys are
• 9:06
  Speaker 3: DVDs and shrink rap and whatnot, So it it's you know, it's.
• 9:09
  Speaker 1: Dope to see now I noticed Roan G wasn't on
• 9:12
  Speaker 1: the project.
• 9:12
  Speaker 3: That's correct. What happened in Roan g Ron had some
• 9:16
  Speaker 3: schedule issues. I'll say that, but you know, we could
• 9:20
  Speaker 3: not talk about you know, Raan g is an integral
• 9:24
  Speaker 3: part of mixtape culture. You know, I went to the
• 9:28
  Speaker 3: National Treasure of Morgan State. He used to come down
• 9:31
  Speaker 3: and battle with him in S and S we have parties.
• 9:34
  Speaker 3: That's actually where I met you the first time, you
• 9:36
  Speaker 3: coming through Morgan, going to Hampton one weekend and we
• 9:41
  Speaker 3: did some business with your mixtapes at a mixtape.
• 9:43
  Speaker 1: Spot back then, and I was gonna ask with all
• 9:45
  Speaker 1: those you know, what was one thing that you realized
• 9:48
  Speaker 1: that you didn't know? Like for myself, I didn't know
• 9:50
  Speaker 1: that Swiss Beats actually got his start by listening to
• 9:52
  Speaker 1: these DJs do intro and he wanted to create intros
• 9:55
  Speaker 1: like that, and that's how he actually got into production.
• 9:57
  Speaker 1: I didn't know that. What was one of the things
• 9:58
  Speaker 1: that you guys learned of for why of making this
• 10:01
  Speaker 1: that you were like, wow, I didn't.
• 10:02
  Speaker 3: Know that I go first. I think what I learned
• 10:06
  Speaker 3: most interesting was why k Capri exited doing mixtapes. I
• 10:10
  Speaker 3: didn't know had got so high for him. I just
• 10:12
  Speaker 3: thought it was a natural transition progression for him to do,
• 10:15
  Speaker 3: you know, deaf comedy jam and kind of go you know,
• 10:19
  Speaker 3: more of the business slash corporate route. But you know
• 10:22
  Speaker 3: that wasn't that wasn't necessarily the case because if he
• 10:24
  Speaker 3: was stuck around doing what he did, it ended up
• 10:27
  Speaker 3: like drama. You I think, so absolutely right.
• 10:30
  Speaker 4: And I think for me, besides the facts of course
• 10:32
  Speaker 4: that I learned that you was a lot more controversial spicy.
• 10:36
  Speaker 4: It was a lot more spicy in the original interview.
• 10:39
  Speaker 4: You know what I'm saying, Like you've toned it down
• 10:41
  Speaker 4: a little bit, and that's I think that's what you
• 10:42
  Speaker 4: had to do a mixtape culture, right, Like you had
• 10:44
  Speaker 4: to get out there.
• 10:45
  Speaker 2: It was very competitive.
• 10:47
  Speaker 4: But I learned a lot about drama situation and how
• 10:50
  Speaker 4: that changed the course of mixtapes and kind of steered
• 10:54
  Speaker 4: into the mixtape. I think as the younger community knows
• 10:57
  Speaker 4: it today, they don't really understand like how we viewed
• 11:00
  Speaker 4: mixtapes back then. How you went to the you know,
• 11:02
  Speaker 4: one hundred twenty fifth Street, Fordham Road, third Avenue to
• 11:05
  Speaker 4: get the tape if it came out on Friday, just
• 11:07
  Speaker 4: to hear all of the new cuts or hear the
• 11:09
  Speaker 4: new blends. They don't have that same perspective. And I
• 11:13
  Speaker 4: think the game changed around that time when you know
• 11:16
  Speaker 4: the FEDS rated Yeah.
• 11:19
  Speaker 5: What about I haven't seen it? Just so what about
• 11:21
  Speaker 5: Weigne in fifty? Did y'all speak to them? Because there
• 11:23
  Speaker 5: was a period where, like you know, DJ's, the artists
• 11:26
  Speaker 5: were probably more important to mixtape coaching than the DJ.
• 11:30
  Speaker 4: We wasn't getting no fifty in this stamn documentary.
• 11:35
  Speaker 2: We said it was self funded. We said it was self.
• 11:38
  Speaker 1: Fundered, you know what?
• 11:40
  Speaker 4: Yeah? And I think part of the reason to have
• 11:42
  Speaker 4: and be come in and work with us on this
• 11:43
  Speaker 4: documentaries was just to have a credible DJ be able
• 11:47
  Speaker 4: to help us shape our narrative and telling the story
• 11:49
  Speaker 4: and make sure there weren't things that we missed.
• 11:51
  Speaker 2: Because a lot of that inside stuff you don't know really.
• 11:54
  Speaker 4: What's going on, and then you come in with your
• 11:55
  Speaker 4: cameras and you're trying to interview people and they're not
• 11:57
  Speaker 4: really telling you the full story.
• 11:59
  Speaker 2: So Envy was our check and Boots so mvy. Why
• 12:00
  Speaker 2: didn't fifty do the doc?
• 12:01
  Speaker 1: Because I think with this doctor was mostly based on
• 12:03
  Speaker 1: the DJs, the actual DJ, but there was a period
• 12:05
  Speaker 1: what the artists did shift things.
• 12:07
  Speaker 4: And we talk about that a lot in there, right,
• 12:10
  Speaker 4: like the G Unit, like how they changed the game
• 12:13
  Speaker 4: dipset right, and that's where and that's why you know
• 12:16
  Speaker 4: we did get Kendrick.
• 12:17
  Speaker 1: Kendrick is in there, talks about the Jay cole on there,
• 12:23
  Speaker 1: talks about how he thought he would never do a mixtape.
• 12:25
  Speaker 1: He thought it was whack, and then when he came
• 12:27
  Speaker 1: up here in New York and seeing all the DJ's doing,
• 12:28
  Speaker 1: he was like, I have to do it. And that
• 12:30
  Speaker 1: was the creation of his mixtape. That's what blew him up.
• 12:32
  Speaker 5: Yeah, Like that's what set the foundation and.
• 12:34
  Speaker 1: That's what he talks about. So he talks about that.
• 12:36
  Speaker 1: So now let me ask you when it when it
• 12:38
  Speaker 1: comes to DJs, who do you guys consider the mount
• 12:40
  Speaker 1: rushmore of DJs mixtape? DJs I should say, oh wow,
• 12:44
  Speaker 1: take me out because I probably want to take me
• 12:46
  Speaker 1: out part of the project.
• 12:47
  Speaker 3: That's for.
• 12:49
  Speaker 5: You.
• 12:49
  Speaker 2: Give why I got to give my four Brucey, b K, Capri,
• 12:53
  Speaker 2: Ron G and DJ Clue what That's just what I
• 12:58
  Speaker 2: listened to, Okay, So leave drama.
• 13:01
  Speaker 4: Drama is comes later in my mind, Like that's much later.
• 13:05
  Speaker 2: And you're from the South, so that's different. I'm from
• 13:07
  Speaker 2: New York.
• 13:08
  Speaker 5: For me, it would be Clue, Drama, ron G and.
• 13:13
  Speaker 1: Probably relate.
• 13:15
  Speaker 3: Yeah, I think I definitely kick Capri Clue Drama.
• 13:22
  Speaker 1: H that's a wow.
• 13:26
  Speaker 2: You left op off and you said that that was
• 13:28
  Speaker 2: your favorite mixtape?
• 13:30
  Speaker 3: Is my favorite?
• 13:31
  Speaker 1: Isn't that ran? Yeah? I see it's bad because a
• 13:36
  Speaker 1: lot of people forget Brucey B. Right, they forget what
• 13:38
  Speaker 1: Bruce B did for mixtape he started, So just because
• 13:41
  Speaker 1: of that, Brucey B has to be on there right then.
• 13:43
  Speaker 1: For me, Clue is my mixtape savior. He's my god. Right,
• 13:47
  Speaker 1: He's not my dad. I said my credit man's not
• 13:55
  Speaker 1: his credit. He's not my dad. But he's definitely up there.
• 14:00
  Speaker 1: You can't take away what Drama did. Like, you know,
• 14:02
  Speaker 1: I joke with Drama all the time and we always
• 14:03
  Speaker 1: talk about whos better, Drama or Clue. But Drama was
• 14:05
  Speaker 1: one of the people that changed the game and when
• 14:08
  Speaker 1: it came to mixtape, like Clue changed the game how
• 14:10
  Speaker 1: he did it. But Drama was getting four artist mixtapes,
• 14:13
  Speaker 1: which wasn't done before. And what he was able to
• 14:15
  Speaker 1: do was, you know, some of these artist mixtapes are
• 14:18
  Speaker 1: better than their actual album. You know, if you think
• 14:20
  Speaker 1: about what he did with g Z, what he did
• 14:22
  Speaker 1: with Wayne, what he did with Gotti, what he did
• 14:24
  Speaker 1: with g Unit, what he did with for Real, what
• 14:26
  Speaker 1: do you do all those TI? TI especially, is like
• 14:30
  Speaker 1: you can't take that away from Drama And then it's
• 14:32
  Speaker 1: like that's kind of for but you can't forget Kid
• 14:36
  Speaker 1: or Ron, you know what I mean. So it's very difficult, right.
• 14:39
  Speaker 4: Right, Why y'all try to have Drama calling my phone?
• 14:42
  Speaker 4: Like he wasn't on my top four yeall was like,
• 14:44
  Speaker 4: you can't take everybody went against me. I was like, okay,
• 14:46
  Speaker 4: but you know what that was after I think my
• 14:49
  Speaker 4: impressionable years of when I was consuming mixtapes, right, So,
• 14:53
  Speaker 4: like I could see why in my mind, I look
• 14:55
  Speaker 4: at really like the forefathers more so of the culture
• 15:00
  Speaker 4: at that time when mixtapes were prevalent.
• 15:02
  Speaker 1: And when we talk about artist careers, you know, we
• 15:04
  Speaker 1: could talk about what artists and I think, like you said,
• 15:07
  Speaker 1: the artists really forgot about mixtapes. But we broke down
• 15:10
  Speaker 1: a lot of the artists that got their start form mixtapes, right,
• 15:13
  Speaker 1: Can y'all break that down a little bit?
• 15:15
  Speaker 3: Some of those artists, I mean of course there's uh
• 15:19
  Speaker 3: G Unit, and of course there's uh uh you know, Dipset.
• 15:23
  Speaker 3: But Joe, Joe butten talks about how he got his start.
• 15:26
  Speaker 3: He talks about Integral You and Clue World to his career.
• 15:30
  Speaker 3: He always says he did it first. He always says
• 15:32
  Speaker 3: he was that. But that's just Joe right, He said, no,
• 15:34
  Speaker 3: I did it first. G Unit and Dipset copied me.
• 15:37
  Speaker 3: But I think those move music and tapes, you know,
• 15:40
  Speaker 3: set the bar for what a lot of the other
• 15:43
  Speaker 3: guys did from the Cooles, Kendricks and especially Big Sean's.
• 15:46
  Speaker 5: When was the first move music?
• 15:48
  Speaker 1: Yeah, it was that.
• 15:50
  Speaker 2: I don't feel like as two thousand and what how
• 15:53
  Speaker 2: early was that.
• 15:54
  Speaker 1: Fifty of them was like late ninety But Joe used
• 15:59
  Speaker 1: to do the mixtapes with the Fab Poko. It was
• 16:01
  Speaker 1: the Desert Storm mixers that they used to do, which
• 16:03
  Speaker 1: I think was before the G Unit. But that was
• 16:05
  Speaker 1: the Desert Store mixtape what they all did together on
• 16:07
  Speaker 1: top of mixtapes beforehand.
• 16:09
  Speaker 5: But that was defin fifth album came out two you know,
• 16:12
  Speaker 5: to that mean he had been smoking the mixtapes.
• 16:16
  Speaker 1: Absolutely, Yeah, it was it was back then. Now it
• 16:20
  Speaker 1: will will there be a part two of the documentary
• 16:22
  Speaker 1: and then where does it go from part one?
• 16:25
  Speaker 3: There'll definitely be a part part two.
• 16:29
  Speaker 4: Am I blowing it up about what the plans are,
• 16:31
  Speaker 4: what we want to do with Tailor.
• 16:33
  Speaker 2: The tape is.
• 16:34
  Speaker 4: Kind of build off of different I don't want to
• 16:37
  Speaker 4: call them elements and hip hop. But we've talked about
• 16:40
  Speaker 4: our next project. I don't want to say it. I
• 16:42
  Speaker 4: feel like somebody's gonna jump on it.
• 16:44
  Speaker 2: So we just say, wait.
• 16:49
  Speaker 3: About who does it first?
• 16:50
  Speaker 1: First?
• 16:50
  Speaker 2: It's about who does it better. We wanted to DVD's next.
• 16:52
  Speaker 4: We want to do the DVD era next, right, because
• 16:54
  Speaker 4: that's a big part of the culture and how things
• 16:58
  Speaker 4: were shifting, you know when people remember when you used
• 17:00
  Speaker 4: to get the d v ds and actually like watch them,
• 17:03
  Speaker 4: and so that's the plan. But it's really to take
• 17:05
  Speaker 4: it into like these different pockets and study those pockets
• 17:09
  Speaker 4: in the culture because no one's really doing that anymore.
• 17:12
  Speaker 1: Yeah, I just I'm just glad that people get a
• 17:14
  Speaker 1: chance to see where it actually started from and when
• 17:16
  Speaker 1: DJ is really matter. And I think the DVDs is great.
• 17:19
  Speaker 1: I mean, you have to do French Montana where he
• 17:21
  Speaker 1: got his start. Of course, Smack you Smack was my
• 17:24
  Speaker 1: first fight.
• 17:26
  Speaker 2: Oh so you can't come on as executive.
• 17:27
  Speaker 1: Now we're cool. Now beat me up to what you think?
• 17:32
  Speaker 1: SMA beat me up to each other?
• 17:36
  Speaker 4: You said, shout out to.
• 17:42
  Speaker 1: Smack was my first fight.
• 17:44
  Speaker 2: But these are the things that that we have to document.
• 17:48
  Speaker 1: In front of my pops. That was.
• 17:53
  Speaker 5: This is crazy, Yeah, it's crazy.
• 17:58
  Speaker 3: Oh my gosh, Smack came man way way back.
• 18:02
  Speaker 2: Yeah.
• 18:03
  Speaker 1: Really that was me and him went to elementary school
• 18:05
  Speaker 1: and I do what I do. I think I threw
• 18:07
  Speaker 1: dirt in his face and I ran. He was like
• 18:09
  Speaker 1: the next day, I'm gonna beat your ass. And now
• 18:13
  Speaker 1: this is lunchtime.
• 18:14
  Speaker 2: Lunchtime.
• 18:15
  Speaker 1: I told my dad. I was like, I said, your dad,
• 18:18
  Speaker 1: I'm about to fight Troy. He was like, I'll be there.
• 18:20
  Speaker 1: I walked out and I seen my dad was like,
• 18:22
  Speaker 1: smack because he ain't gonna hit me in front of
• 18:23
  Speaker 1: my dad.
• 18:25
  Speaker 2: Wow.
• 18:26
  Speaker 1: One, that's how you got the name for the mix
• 18:27
  Speaker 1: of the DVD. Here.
• 18:34
  Speaker 2: You gotta get to jump on this one.
• 18:35
  Speaker 6: We're gonna start with that story, brother Troy, be good
• 18:39
  Speaker 6: after that, nig It's gonna be interesting to see too,
• 18:41
  Speaker 6: how DJ's got their music like those exclusives that they
• 18:44
  Speaker 6: used to put on their mixtapes.
• 18:46
  Speaker 5: Like, I always like hearing those stories. I like hearing
• 18:48
  Speaker 5: how artists used to get really pissed off and used
• 18:50
  Speaker 5: to be hunting the DJs down because of that.
• 18:53
  Speaker 3: Who talks about that? He talks about clue and envy,
• 18:55
  Speaker 3: How they.
• 18:56
  Speaker 1: Used to steal Who kid got kidnapped? Did he talk?
• 18:59
  Speaker 3: No, he didn't talk about it.
• 19:00
  Speaker 1: He got he got punk kidnapped him. The story they
• 19:06
  Speaker 1: said they were going to book them for a party
• 19:08
  Speaker 1: and who kid drove up to I think it was
• 19:09
  Speaker 1: the Bronx or Harlem and they told him to come,
• 19:12
  Speaker 1: you know, come to the car so we can give
• 19:13
  Speaker 1: you a deposit. So his man stayed in the car,
• 19:16
  Speaker 1: who kid jumped out and they threw him in the
• 19:17
  Speaker 1: back and they beat him up, beat him up for
• 19:20
  Speaker 1: playing an exclusive. So that was one of them. Well,
• 19:22
  Speaker 1: we used to get the exclusives a couple of different ways.
• 19:24
  Speaker 1: So the Biggie exclusive that I got was Biggie put
• 19:27
  Speaker 1: his car in valet and the valet guy took the
• 19:30
  Speaker 1: tape out and sold to me. So that's how we
• 19:32
  Speaker 1: got that wheeling Yeah, pray for my downfall. Wow, it
• 19:38
  Speaker 1: was unmixed, unmastered, the all of IRV gott the exclusives.
• 19:42
  Speaker 1: It was IRV got his intern They never paid the
• 19:44
  Speaker 1: interns back. That's old now. They never paid the interns.
• 19:48
  Speaker 1: So when he used to go to the studio, what
• 19:51
  Speaker 1: he used to do is used to play the dats
• 19:53
  Speaker 1: back in the day loud in the office, so everybody
• 19:55
  Speaker 1: would hear it and in turn took that one and
• 19:58
  Speaker 1: then uh, the engineers and the studio, so all these
• 20:01
  Speaker 1: artist would be disrespectful to the engineers and curse at him,
• 20:03
  Speaker 1: to yell at him. So you give him a couple
• 20:05
  Speaker 1: hundred back then it was a couple hundred dollars, two
• 20:06
  Speaker 1: hundred dollars, and they just leaking the record and they
• 20:09
  Speaker 1: would leak the records. That's how we got a majority
• 20:11
  Speaker 1: of our records.
• 20:11
  Speaker 2: Wow, that's an exclusive right there.
• 20:14
  Speaker 5: That's get How could the mixtapes legally be sold if
• 20:18
  Speaker 5: they weren't original songs.
• 20:20
  Speaker 1: Art for the game.
• 20:21
  Speaker 3: It was all illegal, was so even though stores you
• 20:24
  Speaker 3: used to go up in when the promotional use, so
• 20:26
  Speaker 3: that's what it always used to say, promotional use only.
• 20:28
  Speaker 4: Ye really yeah, wow, it was all illegal, And then
• 20:33
  Speaker 4: they would get bootlegged by the bootlegs, and so everything
• 20:37
  Speaker 4: was kind of like.
• 20:38
  Speaker 3: Call wholesales wholesal wholesalers. And that was the difference, I
• 20:41
  Speaker 3: would say, because when I met Envy, when he came down,
• 20:44
  Speaker 3: he had again his products were shrink wrapped, bar coded,
• 20:47
  Speaker 3: like somebody was keeping inventory. I was impressed. I was like,
• 20:51
  Speaker 3: you know, and you're good friends with my boys shot
• 20:53
  Speaker 3: and so in the Philippines, okay, yeah, yeah, and so
• 20:56
  Speaker 3: he would be like, he'd like, you can't bootleg my
• 20:59
  Speaker 3: boys stuff, and so we would just you know, have
• 21:02
  Speaker 3: to take the hit on that.
• 21:03
  Speaker 1: Yeah. So yeah, we figured out a way to do it.
• 21:06
  Speaker 1: But the labels would never complain because for the labels,
• 21:09
  Speaker 1: it was promotion for their artists emotion. So they wanted
• 21:11
  Speaker 1: their artists on the top six songs because it was promotion.
• 21:14
  Speaker 1: They wanted their freestyles. They wanted that, so they would give,
• 21:17
  Speaker 1: you know, mixtapes. And then we were getting so many
• 21:19
  Speaker 1: Rockefeller records. Jay Z and Dan Dash a protest to
• 21:22
  Speaker 1: say let's do these Rockefeller mixtapes, and that's how the
• 21:24
  Speaker 1: Rockefeller mixtapes came with Lenis and just became big cluded
• 21:27
  Speaker 1: want to do it.
• 21:28
  Speaker 2: So I was next, yep, yep.
• 21:32
  Speaker 1: I look forward to. So how can people see this
• 21:34
  Speaker 1: if they want to watch the full documentary, the full
• 21:36
  Speaker 1: DVD document or hip hop mixtape documentary, how can they
• 21:39
  Speaker 1: watch it?
• 21:39
  Speaker 3: Or they can go to uh it's on Amazon prompt,
• 21:42
  Speaker 3: it's on Verizon, it's on Spectrum. You can go to
• 21:45
  Speaker 3: tailordotapefilm dot com and get all the info, all the links,
• 21:51
  Speaker 3: and go to Red Summer TV on YouTube on ig
• 21:53
  Speaker 3: for behind the scenes.
• 21:54
  Speaker 1: Now, how difficult is for people behind the scenes if
• 21:57
  Speaker 1: they want to do their own documentaries to get you know,
• 22:00
  Speaker 1: on these platforms. How difficult is that?
• 22:02
  Speaker 2: It's very difficult.
• 22:05
  Speaker 4: I mean, you see, it took us a long time
• 22:07
  Speaker 4: to put it out, and we just really wanted to
• 22:09
  Speaker 4: get that done, get our first one in the can,
• 22:12
  Speaker 4: and then start working on the next ones. But even
• 22:14
  Speaker 4: as you guys know, in television, the networks, the streaming platforms,
• 22:19
  Speaker 4: like it's taking some projects three to four years to
• 22:25
  Speaker 4: get on the air. Right when I just did the Impact,
• 22:27
  Speaker 4: that was like one of the quickest turnarounds ever. We
• 22:30
  Speaker 4: shot it in September, October, November and it was out
• 22:33
  Speaker 4: by January. That was one of the quickest turnarounds I've
• 22:36
  Speaker 4: ever done on a show, right, Usually it's twelve to
• 22:38
  Speaker 4: eighteen months right just from the start to when it
• 22:42
  Speaker 4: actually comes out.
• 22:43
  Speaker 2: So it's hard.
• 22:45
  Speaker 4: Like you, documentaries are a labor of love. A lot
• 22:50
  Speaker 4: of people I want to do a documentary, like you
• 22:52
  Speaker 4: realize you're going to be spending your own money.
• 22:55
  Speaker 2: Time and time. It's not a lucrative thing.
• 22:59
  Speaker 4: You've got to really love what you're doing and love
• 23:01
  Speaker 4: the story that you're telling in order to stay committed
• 23:03
  Speaker 4: to it.
• 23:04
  Speaker 1: So, are our platform still looking for the I A should
• 23:07
  Speaker 1: get the beef, the love and hip hop type of things,
• 23:11
  Speaker 1: the fighting? Are they still looking for that or are
• 23:13
  Speaker 1: they Are they getting to a point where they're like, now, let's.
• 23:15
  Speaker 2: Just I think it's changing.
• 23:16
  Speaker 1: It is.
• 23:17
  Speaker 2: I do think it's changing.
• 23:18
  Speaker 4: I feel like just even in my pitch meetings that
• 23:21
  Speaker 4: I'm in, like I can tell by like what people
• 23:23
  Speaker 4: are looking for. We're producing a lot differently, right, we
• 23:28
  Speaker 4: have to find new ways to do that. So I
• 23:30
  Speaker 4: feel like true crime is very hot. Crime stories even
• 23:33
  Speaker 4: in our culture, right, everybody's got the story to tell,
• 23:36
  Speaker 4: you know, it's funny.
• 23:37
  Speaker 2: It's one of the things we.
• 23:38
  Speaker 4: Said when we were talking about the boocy B situation
• 23:40
  Speaker 4: was like, how the hustlers really put him in that
• 23:42
  Speaker 4: position right to start selling his tapes, and they're behind
• 23:46
  Speaker 4: a lot of stuff in hip hop right because the money.
• 23:50
  Speaker 1: Of course, that's.
• 23:51
  Speaker 4: Where it was coming from. So those stories have become
• 23:55
  Speaker 4: I think, or we've put them front and center, right,
• 23:58
  Speaker 4: and I think it's it's like going crazy on YouTube.
• 24:00
  Speaker 4: Now I can see every old street gangster story on
• 24:03
  Speaker 4: your right and everybody such and such from back in
• 24:07
  Speaker 4: the day. You just put that in a Google search
• 24:09
  Speaker 4: and it's you have like seven different storytellers telling the
• 24:13
  Speaker 4: story of this person who is.
• 24:15
  Speaker 2: Now in jail for you know, life.
• 24:17
  Speaker 4: So that's I think the networks are kind of like,
• 24:20
  Speaker 4: what's this about, you know, looking at that all right.
• 24:24
  Speaker 1: Well, definitely check out Tale of the Tape Revolutionized hip
• 24:28
  Speaker 1: Hop And you want to shout out at all the
• 24:29
  Speaker 1: EPs and everybody involved because they all listen all the time,
• 24:32
  Speaker 1: so make sure they give that love.
• 24:33
  Speaker 3: Go ahead, Malik, I mean there's Kim of course, thank
• 24:38
  Speaker 3: you so much, my brother DJ Envy, Yes, sir, I
• 24:41
  Speaker 3: would like to really thank our pr guy Sydney has
• 24:44
  Speaker 3: been amazing, and Nikiah Hicks who came on early, and
• 24:49
  Speaker 3: Jocelyn Rose and Joscelyn Rose Lines, who's an amazing, amazing director.
• 24:53
  Speaker 3: She did the movie Stand and she's one of our
• 24:56
  Speaker 3: producers EPs on this project. Thank you.
• 24:58
  Speaker 1: All right, Well, it's the Breakfast Club. Is Malik and
• 25:00
  Speaker 1: Kimmel Sorrio. It's the Breakfast Club. Good morning, wake that
• 25:03
  Speaker 1: answer up in the morning. Breakfast Club.