transcript

Speaker 1:
[00:41] Yeah, what's good? It's the boy, Lil J. Lennie, AKA Uncle Murda.

Speaker 2:
[00:45] And it's Turbulence Tony, AKA Tony Yayo. It's The Real Report, and we have the number one worldwide DJ in the world.

Speaker 3:
[00:56] It's the Kid Capri!

Speaker 2:
[01:02] What's going on, man?

Speaker 1:
[01:03] Legend, what's happening? Legend, what's going on, man?

Speaker 3:
[01:05] What's happening, Legend?

Speaker 2:
[01:06] What's up, Legend, man? Happy to have you here, man. Happy to have you here, man.

Speaker 4:
[01:11] Glad to be here, man. Glad to be here.

Speaker 2:
[01:12] Yo, we glad to have you here, man. Yeah. You know, you were a pillar in hip hop. You know, we was backstage talking about K-Slay. And, you know, sometimes people only give you your flowers when you're gone. You know, God, like you, we want to give you your flowers now while you're here. You know what I'm saying? That's why we did some business, Merc. Shout to my man Dre. Shout to the Garden of Dreams, the whole Knicks Foundation. And, you know, Kid Capri is the type of dude that he's, what people don't need to know is he doesn't only DJ, he raps, he produces, and he makes beats. So we gave a song to the New York Knicks, me and my man Dre. They love Kid Capri, he's a legend. Live from New York. And Live from New York is playing on a, make some noise for that, playing on a plane.

Speaker 5:
[01:57] Yeah.

Speaker 2:
[01:58] Come on, Jim, make some noise.

Speaker 5:
[01:59] Yeah.

Speaker 2:
[02:00] How's it going, How's it going on, Jim? So what I'm saying to you is he's not a one trick pony. You know, he's like a Kanye West, he's like a Q-tip. You know, he produces and he raps. He's like a Havoc. He does a lot.

Speaker 1:
[02:15] Oh, you ain't telling me nothing. I don't really know about Kid Capri.

Speaker 2:
[02:18] But I could tell you something you don't know about Kid Capri.

Speaker 1:
[02:20] What?

Speaker 2:
[02:21] What is one of the infamous clubs that he used to DJ at in the Bronx? There's two. Name one.

Speaker 1:
[02:31] I don't know.

Speaker 2:
[02:32] All right, so we're going to talk about that. One of the most, and you know back in the 80s, Shout to the Bronx is still dead.

Speaker 1:
[02:38] That must have just been talking about this a little while ago.

Speaker 2:
[02:40] No, no, we didn't talk about it.

Speaker 1:
[02:42] All right, okay, go ahead.

Speaker 2:
[02:42] So tell me. I just know Kid Capri.

Speaker 1:
[02:44] Okay, so tell me.

Speaker 2:
[02:46] So back in the 80s, the Bronx was dangerous. It's still dangerous now.

Speaker 1:
[02:51] Shout out to the Bronx.

Speaker 2:
[02:52] Definitely, we love y'all though. I love the BX, know what I'm saying? But make it safe again. So we can come and enjoy.

Speaker 1:
[02:58] When was it ever safe? Well, go ahead.

Speaker 2:
[03:01] The Bronx in the 80s, DJ Kid Capri, DJ... See, I don't even... What are these cute... These don't... They don't be knowing nothing. I don't even need those.

Speaker 1:
[03:09] Okay, go ahead. That's what I'm talking about.

Speaker 2:
[03:11] DJ Kid Capri, DJ at a club called The Castle, right? Now, Jim don't even know this. The so-called...

Speaker 1:
[03:18] How you know Jim don't know that? That's Kid Capri right here and man.

Speaker 4:
[03:21] He wasn't around there.

Speaker 1:
[03:22] He wasn't around there? Oh, you ain't know this, Jim?

Speaker 2:
[03:24] Jim don't know this. Jim don't know this.

Speaker 1:
[03:27] Okay, okay.

Speaker 2:
[03:28] I know this is right here and man don't know this.

Speaker 1:
[03:29] Yeah, that's crazy, Jim. Jim, do your homework, Jim. Go ahead, yeah.

Speaker 2:
[03:32] So the thing about The Castle is like in the 80s, that's like the infamous time, like just picture the Bronx in the 80s, the biggest gangsters, the biggest drug dealers, Kid Capri was DJing there. It was so infamous, not trying to promote it, but the rumor is that even Slick Rick got shot outside of The Castle. Back in the day, he's got shot in his eye. Like it's an infamous club. In the other club, he did.

Speaker 4:
[03:57] No, he got shot in his eye. I think they shot at him, and if I'm not mistaken, I think he had a girl in the truck, and she got grazed in the side. They had cheesed up the truck, if I'm not mistaken. But yeah, it was a crazy time in the castle, man. The castle was-

Speaker 2:
[04:14] Yo, talk about that, man. Talk about that, because that's 80s hip hop. You know what I mean?

Speaker 4:
[04:18] Well, that was when we started the castle. The castle was like 90, maybe 90.

Speaker 2:
[04:24] Oh, it was the 90s?

Speaker 4:
[04:25] It was like 89, 90s.

Speaker 3:
[04:26] 89, going to tonight. Classic time in music.

Speaker 2:
[04:29] 89 going to 90s.

Speaker 4:
[04:31] Yeah, so before that, it was the S&S club. S&S club was really where I started getting known at because that's where, in the S&S club, you need not to glorify, but it was the most killers and drug people and street people that you ever could meet, the top that you ever could meet. And they were all there in one place. So I'm sitting in this place looking at the state and spending a year and a half there. I seen a lot. After I left there, I started playing, doing the castle and doing... I was doing the castle at the same time, but then doing the castle and doing the building downtown, doing my New York thing, and then started going out of town. The mixtape thing is what really took off for me. When that took off, it was like I was a soundtrack to the drug dealers.

Speaker 2:
[05:16] So they shot at Slick Rick Carl? He didn't get hit that day.

Speaker 4:
[05:19] Nah, he didn't get hit.

Speaker 2:
[05:21] Okay.

Speaker 1:
[05:22] You went back to Slick Rick?

Speaker 2:
[05:23] No, no, I'm saying, because I mean, somebody said he got shot in the eye. I wanted to know if it was valid.

Speaker 1:
[05:27] It wasn't there, though.

Speaker 2:
[05:28] Okay, I know, but he got his car got shot up. So now I'm visualizing Slick Rick with the jewelry on in the Bronx.

Speaker 4:
[05:35] Rick would be by himself.

Speaker 2:
[05:37] That's what I'm saying.

Speaker 3:
[05:38] And call the whole-

Speaker 2:
[05:39] With all the jewelry on.

Speaker 4:
[05:40] And call the whole team of dudes peasants. Oh, shit, for real? He was, he was stowed like that.

Speaker 6:
[05:46] Shout to Slick Rick, come on, man.

Speaker 4:
[05:47] You know what I'm saying? And, you know, I think he might have did that in the castle and, you know, it was to these dudes that was these kids that was up in the Bronx.

Speaker 2:
[05:56] See?

Speaker 4:
[05:57] And it just jumped up, but nothing happened to Rick.

Speaker 2:
[06:00] They just shot the whip up, showed he got grazed with some gangster shit was going on. He had all the jewelry on? Slick Rick had all the jewelry on?

Speaker 1:
[06:06] You see how he talk so fast? Like he know what happens. Now he like, yo, yeah, shot up the whip, showed he got grazed.

Speaker 6:
[06:11] You just told him, like you just told him. Now he acting like everybody knew he a that shot up the whip, showed he got grazed, but he just thought the got shot. I'm dead, talk this shit.

Speaker 2:
[06:22] Let's keep it real, Murda, when shit happen in the hood, you hear five different stories. I heard the fifth story, yo, he got shot in the eye.

Speaker 6:
[06:31] I'm that guy who just read with this story so fast. Yeah, so you already know the got shot in the whip, shorty got grazed. My said he don't even know if she got grazed. He said he thick, but I like how you just read with it.

Speaker 4:
[06:42] He came in the game with the eye patch.

Speaker 2:
[06:44] Oh, wow. That was top-valid. But the car got shot up, so it was semi-valid. He called peasants, slick Rick, shout out to slick Rick. I can see him doing that. You know? It's crazy, Merc, because we got Kid Capri, the legend that does this worldwide. You know, talk about some of the places you've been in the world.

Speaker 4:
[07:06] I've been all over, man. I just, well, I mean, Houston. I just got back from Houston yesterday, but I've been everywhere, man. I just came back from Africa. That was really crazy. I just came back from Mexico with our Swiss Beats and the Leash Keys. That was really big.

Speaker 1:
[07:18] Look at that.

Speaker 4:
[07:19] I've been to all 52 states. One time I was doing 250 shows every year. First dude in hip-hop to own a tour bus, so that's how much I was traveling.

Speaker 2:
[07:28] I told you, he's so cocky, Jim.

Speaker 4:
[07:29] No, I'm saying it's the truth, though. I was still traveling so much with 15 crates of records.

Speaker 2:
[07:33] That's the shit Soulja Boy would have said, though. But it was true.

Speaker 4:
[07:35] We were traveling with 15 crates of records on the plane all over. We got tired of paying all that money and waiting and all that. So we just said we'd buy a tour bus so this way we could travel and everything would be safe. And that's what we did. But we was just going and going. And after the pandemic, when the pandemic came, we were starting to leave, they started calling me to go back on the road. I told the manager I ain't doing all the day stuff we were doing.

Speaker 2:
[07:55] Say that again, 15 crates. You hear them DJs? 15 crates. Rest in peace to my man, DJ Roughhands, man.

Speaker 4:
[08:03] So that's how I learned about that.

Speaker 2:
[08:05] How many clubs you did that got shot up and somebody got to get the crates?

Speaker 4:
[08:09] Well, none of my clubs, none of my parties.

Speaker 2:
[08:10] No, I'm just saying that something happened.

Speaker 4:
[08:11] None of my joints, I never had. None of that stuff happened to my joints. I never had that problem.

Speaker 2:
[08:16] Well, back in the days, my man Roughhands, we were going to hold him up. We're not legendary like you, okay, rest in peace, my man. We would do the club shit in Queens, then we'd get shot up, and we gotta get to 15 crates.

Speaker 4:
[08:26] Q Club, man.

Speaker 5:
[08:27] Yeah. Yeah, 15 crates.

Speaker 4:
[08:29] Fortunately, at none of my parties, I keep people occupied, so none of that shit happened. It's when everybody's standing around, get a chance to look at each other, nobody's being busy. When you keep everybody busy, you can step on somebody's foot, and it ain't no problem. But it's when everybody's in there, and they're on their phone, you're looking at each other and shit pop off, and next thing you know, it goes where it goes. But we don't have that problem. We never had that reputation, the shit happened in my events. You know what I'm saying? My events is my party. When you come to my joint, you don't see people with phones and shit. My shit's shaking, and people get lit. The word lit, a little confused. They think lit means because it's crowded is lit. No, your shit ain't lit, your shit is crowded. My shit is lit. You come to a Kick It Pre event, shit's shaking, chicks' hair falling out. They ain't no phones and all that shit.

Speaker 1:
[09:14] party and have a good time.

Speaker 4:
[09:16] And that's everybody.

Speaker 2:
[09:17] I mean, you come from classic eras of music, hip hop, the culture. I mean, to me, the 80s and the 90s was like-

Speaker 4:
[09:24] But even with the new music, I could play, I could do a whole trap set and that shit is shaking, shaking, shaking. It doesn't matter what it is.

Speaker 1:
[09:32] Look, talking about that, right, Kid? Look, all the eras that you've been in from this hip hop shit, 80s, 90s, the 2000s, what album you feel like you could play with no skips? Like, classic album, no skips.

Speaker 4:
[09:45] RB and Rod King, Paid in Full, Slick Rick, Great Adventures, 50 Cent, Get Rich, Die Tryin, Low End Theory, Tribe Called Quest, so many of them, you know what I'm saying? Biggie, you know, like, go on and on. Got you. But what happens is that-

Speaker 2:
[10:03] Whatever you think is the best, between the 80s, 90s and the 2000s, that's the fucking question.

Speaker 4:
[10:08] For the 90s, it ain't gonna be like the 90s. None's gonna be like-

Speaker 2:
[10:11] Over the 80s? Rakim, Big Daddy, hold on, hold on.

Speaker 4:
[10:14] No, no, no, I'm not talking about as far as, I'm talking about as far as the way hip hop went. You know, it became bigger, but as far as the beginning of it, none's gonna beat that. You're not gonna beat- Matter of fact, even with records that came out, you ain't gonna be beat the beginning. You're not gonna beat the tapes of Cold Crush and Fantastic and Furious Five when there was no rap records. When you went to the parties, and there was just rappers playing break beats and the rapper rapping over the break beat the whole party. And it'd be the baddest chicks in the party. You know what I'm saying? So that's the real shit. They didn't get the accolades that we got later on. They didn't make the money that we made. They didn't see the fame that we seen, but these are the dudes that built it. Without them, we wouldn't have jobs right now. You know what I'm saying? So that's why the older dudes, I always respect. I never look at them as a down thing. I always look at them as my heroes.

Speaker 2:
[11:08] Of course. They started the game. I always pay homage. Yeah.

Speaker 4:
[11:11] You know what I'm saying? So you look at dudes like Melly Mel, dudes like, you know what I'm saying? Just great emcees that really put it down. They deserve to be put on a pedestal.

Speaker 2:
[11:23] Nah, the Bronx started the game, but Queens ran the game, you know what I'm saying?

Speaker 5:
[11:27] And Brooklyn took it, and Brooklyn took it.

Speaker 2:
[11:32] Shout out to Russell Simmons and Brooklyn took it. Shout out to Run DMC and all that, you know what I'm saying?

Speaker 5:
[11:39] I'm on my cock and shit, you know what I'm talking about? Go, go, go.

Speaker 1:
[11:47] Now, on another note, Kid Capri, who's your top five?

Speaker 4:
[11:51] I don't have no top five.

Speaker 1:
[11:52] Oh, shit, Pharrell. Why you say that?

Speaker 4:
[11:55] Because what are you talking about? You're talking about top five rappers, you're talking about top five fashion, top five record sellers. What are you talking about? Because if you're talking about top five rappers, ain't nobody beating battle rappers, if you ask me. You know what I'm saying? A lot of the top five rappers, or a lot of the rappers that's in the game get this shit from battle rappers, right? So that's one thing. Secondly, there's people that's in the top five.

Speaker 1:
[12:15] How can you say that? Battle rappers, you had rappers that was doing that thing before battle rappers.

Speaker 4:
[12:19] I'm not talking about them. I'm talking about when the day and age right now, a lot of rappers that was rapper in a certain way, they listen to battle rappers and now they're rapping that way. That's the truth. We ain't going to sugar it, and he got a lot of technique from what battle rappers is doing. It's just that battle rappers always had a stigma that they couldn't make good records. So that's why they wasn't really successful in making music. What?

Speaker 2:
[12:43] Battle rappers winning the 80s? What are you talking about?

Speaker 1:
[12:45] We're talking about this man. We're talking about just how high the music is.

Speaker 4:
[12:49] Right. Just to speak to that, I made an album called Top Tier with all battle rappers. This is when I was trying to help the battle rapper get on. This is before the battle rapper thing blew up. I was trying to help him get on. This one's Smack Left. We had shot some things, me and Lux, Lola Lux and a bunch of us, and we did some stuff, and then I was gonna do this deal with HBO and did some things. So I made this album called Top Tier that I never put out, but the shit is incredible.

Speaker 1:
[13:12] You never put it out?

Speaker 4:
[13:13] Never put it out.

Speaker 2:
[13:14] You know what I think about?

Speaker 1:
[13:15] You know what I think about?

Speaker 4:
[13:16] Yeah, I'm gonna get it out there.

Speaker 2:
[13:16] I'm glad we're talking about battle rap. Cause you know what I think about battle rap? I think, cause I'm a fan of Loaded Lux, Murda Mook, you know, everybody. DNA, the list goes on and on. Even if they're female rappers, you know, I love them too. I feel like when you had the battles like Loaded Lux and these guys, Murda Mook, and these guys were starting to make money, I think, and Smack was making all the money. It got kind of, you know, they had deals with, I think Eminem, right? It was Eminem doing the show. So hold on, listen. When the bag came, they wasn't on YouTube no more. So when they was on YouTube, it was like, you can catch all the battles. And I think that they was making so much money, like to a point where they was making more than rappers. So what you're saying is valid. Cause they would say now for Low Deluxe Murder Mook Battle, I need 40,000. Like numbers started getting like ridiculous with promoters where they're like, yo, battles and then you got rappers that, you know, like DNA and other rappers, goods and all these other rappers. They're like, well, fuck it. We want 20, we want 30, we want 15.

Speaker 1:
[14:20] They want their money, they bringing it in.

Speaker 2:
[14:22] No, I'm not saying not, but then it was just less battles. And then you wasn't seeing it on YouTube. Cause there was a point where all we was watching was battle rap. Queen of the Ring, the female battle raps. I was watching that. There was a time where that's all we was watching. But back to Kid Capri. Let's get back to Kid Capri.

Speaker 1:
[14:39] He got into his battle. He got into his battle rap.

Speaker 2:
[14:41] I love battle rap. We gonna have some battle rappers up here. Of course.

Speaker 4:
[14:43] But to go back to your question, you just asked me who the top fives are, right? So like, yeah, like there's great MCs, but there's a lot of times I hear top five lists and the people that I think that should be in top five isn't. I'll tell you, if you talk about rap skills, why isn't Twister in top five? Why isn't Eminem in everybody's top five?

Speaker 2:
[15:07] He is in my top five. Hold on.

Speaker 4:
[15:08] He's in mine too. But why isn't he in everybody's top five? So that's what I'm saying. It's all subjective. You may like your side.

Speaker 2:
[15:21] He's bugging. He can't get me. So you mean to tell me, no, because he's stripping. No, I ain't stripping. I'm going to tell you, look, I'm going to tell you why.

Speaker 1:
[15:28] It's The Real Report. Nah, it's The Real Report.

Speaker 2:
[15:31] If you tell me in the 80s, who's my top five, we're going to have... I'm not in this no order. We're going to have Big Daddy Kane on the list.

Speaker 4:
[15:37] That's in the 80s, that's ever.

Speaker 1:
[15:39] That's what I'm saying.

Speaker 3:
[15:39] But I could do 80s, 90s, I could do 80s, 90s, 2000.

Speaker 5:
[15:43] But that's a different thing.

Speaker 2:
[15:44] When you say top five, if you say, right, you say, who's my top five, what are you talking about? You don't believe in the top five.

Speaker 4:
[15:51] No, no, we gotta, let's put this right. Let's put this right.

Speaker 2:
[15:54] We can rewind it.

Speaker 4:
[15:55] I know, but we ain't gotta rewind nothing. If somebody asks me, who's my top five? And they don't say in whatever, they just say, who's my top five? I'm thinking, they say in my top five, best 70s of all time. If you say, who's the top five in the 80s, I'm gonna tell you exactly who's my top five. If you say, who's the top five in the 90s, I'm gonna tell you, depending on what you're talking about, record sales or raps. Some of these are top five because of how they're dressing. They out here modeling and they ain't had a hit in 15 years.

Speaker 2:
[16:26] I agree with you.

Speaker 4:
[16:28] Am I right? Okay, they're getting viral because they're, first of all, let's do this. I don't wanna deal with, first of all, let's go here. I don't wanna pay for it. If I'm doing a show or something, I don't wanna pay nobody because they popular. I don't wanna pay because they get the job done. You'll be popular because you tripped over a goddamn rock on TikTok and that tomorrow you viral. And now they hire you to come to the club and everybody's in the club watching you stand in a VIP booth like they do with some of these chicks. Nah, I'm paying for somebody that's gonna get the job done. My crowd gonna come, the crowd gonna be happy. When they pump, they pay their money and they left with their money's worth.

Speaker 2:
[17:02] Hold on, hold on.

Speaker 4:
[17:04] Let me give you a little bit of time.

Speaker 2:
[17:05] Nah, ain't no different times. Hold on, listen, no.

Speaker 3:
[17:07] Hold on, let me give you a little-

Speaker 2:
[17:08] Eddyn, Eddyn, hold on. Eddyn, Eddyn, find the-

Speaker 4:
[17:11] Some shit gotta remain the same.

Speaker 2:
[17:12] Find the mom that got popular on TikTok off that song. We in different times. Find it, it's a mother, look it up, type it up. Mother that got popular off TikTok song. Everybody knows it, I don't know the song. But we in different times when things are different.

Speaker 4:
[17:25] I'm not mad at the young kid- I'm not mad at the young kid that gets popular off of some dumb shit.

Speaker 5:
[17:31] That's them.

Speaker 4:
[17:31] Let's see.

Speaker 5:
[17:32] I don't want them to do good, they gonna make money from me good.

Speaker 4:
[17:34] I'm talking about as a grown man, I'm not walking around doing dumb shit to get popular. And if I'm gonna work with somebody or pay somebody to come do something, I'm not gonna pay them because they're popular for some dumb shit. I'm gonna pay them because they're gonna get the job that I need done, done.

Speaker 5:
[17:49] Period.

Speaker 4:
[17:50] For whatever time it is. And if you don't like that, don't come. But I want people to get their money's worth. When you come, that's why I pay for a DJ to open for a show for me everywhere I go. This is money I can keep in my pocket. I don't have to pay for no hotels and planes and all that shit for him. But I want people to get the best show they can. So I don't want to walk in here, hearing the song three, four times. You know what I'm saying? Where a lot of DJs are coming, play the poppin shit at 10 o'clock at night when nobody's there because he wants to get it on. And I hear that. But if you really thinking about the event, you thinking about the people, it's a strategy, it's a science to everything that you do.

Speaker 2:
[18:24] So what you thinking before you get on the set, because you're one of the greatest DJs in the world. He's the best, we got to give it to him. It's Kid Capri. He's done this through the 80s, the 90s.

Speaker 4:
[18:32] Don't say that because I'm going to get a bunch of comments. He ain't the best.

Speaker 2:
[18:36] Well, I don't give a fuck about that. I don't read comments, brother.

Speaker 4:
[18:40] I ain't the best.

Speaker 2:
[18:40] He's the best. You're the fucking best. From the castle to the fever. Tell up this, don't be modest because you're a cocky motherfucker. I told you.

Speaker 1:
[18:49] He ain't killer shit, man.

Speaker 2:
[18:51] Listen, Murda, when I first met Kid Capri, my experience was him, I never left the fucking hood. 50 flew me out to Ken Koon. He was signed to Columbia, Tony Polk and them. What was the soundtrack for? What was the movie? Where LL and-

Speaker 4:
[19:07] The In Too Deep soundtrack.

Speaker 2:
[19:09] In Too Deep soundtrack. Don't say pause.

Speaker 4:
[19:11] There's a story behind that too.

Speaker 2:
[19:13] It is. It's a pause. It's a pause. In Too Deep soundtrack. You said it already. It's a pause. Cool. All right, pause. It was a dope movie and I never left the hood. I went to Ken Koon. 50 flew me out. I was out there and this is when I knew Kid Capri is cocky. You're right. He's this cocky, man. He's cocky. Yo, he did the best. He's the best, right? He knows he's the best. That's why I like him. But Kid Capri came through, right? Chain swinging. He came through the crowd. Now, mind you, this is a show like Gloria Velas. It was mad shit going on. Girls was getting ate out on stage. We could mute that or whatever.

Speaker 1:
[19:50] You guys can mute it.

Speaker 2:
[19:52] Girls, this is my first time leaving the hood. Girls was getting ate out on stage. I think it was Luke or one of them niggas up there. It was like, Luke. So this is like, what was that? Nine-seven?

Speaker 1:
[19:59] Shout out to Luke.

Speaker 2:
[20:00] Yo, Luke. And it was like Gloria Velas with their girls was getting ate on stage. It was crazy. My first time leaving the hood. I'm in Cancun, Mexico. 50 got rowdy, rowdy, rowdy, rowdy. Look it up, y'all.

Speaker 3:
[20:09] I produced rowdy, rowdy.

Speaker 2:
[20:11] He produced rowdy, rowdy.

Speaker 1:
[20:12] Okay.

Speaker 4:
[20:12] We were signing the same label on Columbia.

Speaker 1:
[20:14] Got you.

Speaker 4:
[20:15] Now, the crazy shit, I didn't even realize until later, that movie, the first time I ever took an airplane ever was to Boston, right? These drug dealer kids in Boston had me come out there and do some shows, right? First time I've been on a plane. Ironically, the drug dealers that brought me out there, the movie was about them.

Speaker 1:
[20:37] Oh shit.

Speaker 4:
[20:38] The leader was LL. That was G.

Speaker 1:
[20:43] Oh, from the N2-D movie, Pause. Right.

Speaker 4:
[20:46] I didn't know that. Then on top of that, I produced the first record, which was Rowdy Rowdy Fifth. I didn't know none of these shit until later on, I realized who they were talking about. But yeah, it was the dudes in Boston. That was the first time I've been on an airplane. Shout out to them. Shout out to all my guys in Boston.

Speaker 2:
[21:00] Shout out to the Boston gang. Shit, New York is Rowdy Rowdy. That's my first time. What was that?

Speaker 1:
[21:05] Yeah.

Speaker 2:
[21:06] My first time ever leaving the hood. Drug dealer. 1-3-4, God brought a dirty. Leaving, yo Fifth, thank you 50.

Speaker 1:
[21:13] And you met Kid Capri.

Speaker 2:
[21:14] Kid Capri, oh yeah, back then being cocky, he came through with the chain on, chain swinging. He still got the hair now, curly hair, shit.

Speaker 3:
[21:20] I still got my hair, man.

Speaker 4:
[21:21] This shit is still popping, man.

Speaker 2:
[21:23] So my be mad at Kid Capri. We ain't gonna talk about it. So he came through, but he was came through in our old, and this is 9-7, and he fucked up. I his head up, he ain't think I remember that. He had the brown skin chick with the super fatty, like before the BBL. He too cocky. That's why all these mad. I told him, he too cocky, bro.

Speaker 5:
[21:46] Kid Capri is cocky.

Speaker 2:
[21:47] He's a legend, but he's a cocky motherfucker, bro.

Speaker 4:
[21:50] That's, man.

Speaker 2:
[21:52] How was it, now tell me.

Speaker 5:
[21:54] Don't put the wrong thing out there.

Speaker 2:
[21:55] Now you know I'm always, you know, we got Brooklyn in the house. Brooklyn. So how was it? Cause I know you did some things with Biggie. How was that?

Speaker 4:
[22:02] I did shows with Biggie.

Speaker 2:
[22:04] That's what I want to know, shows.

Speaker 4:
[22:05] I remember one show I did.

Speaker 2:
[22:07] I just want to hear about backstage with Biggie. You know, how was it?

Speaker 4:
[22:09] I remember one time we was backstage, he was in the car, right? And I came up to the car, he was sitting there, Biggie was cool. Y'all was sitting there, I was like, yo, I'm proud of you. You proud of me? He said, yeah, I'm proud of you.

Speaker 5:
[22:23] So I'm about to do this shit down, kid.

Speaker 4:
[22:24] It's like, I know. He had a purple suit on. It was me, him and R. Kelly.

Speaker 1:
[22:29] Oh, shit. See, that's why I love these stories.

Speaker 4:
[22:32] And he got on stage. When he walked on stage, that shit just set. I never heard a war like that. Like, it was like a real, like a... It was like, I'd never heard that shit before, but it was so crazy when he got on stage. This was in Detroit. When I seen that shit, man, it was like, yo, this shit is, this is massive because you just seen the people, like people just throwing people and shit. And I had experience like that in the garden. When I did the garden, you know, shook this shit so crazy.

Speaker 2:
[23:05] You did the garden with who? Who was that with you?

Speaker 4:
[23:07] I did the garden many times, but the one time I did it was when Aaliyah, when I went on tour with Aaliyah.

Speaker 1:
[23:11] What's that piece, Aaliyah?

Speaker 4:
[23:13] I had a, we came to the garden and I would come out, well, through the whole tour, I would come out. She had, we had, it was five people on tour. It was Mary J Blige, Bone Thugs in Harmony, Aaliyah, Genuine and Drew Hill. So, Aaliyah had a dancing show, so they wanted somebody to come with the energy, so that's why they came and got me to come in the middle of a show, so we would do this the whole tour. When we got to the garden, they oversold the garden, like 8,000 seats, the whole bottom, that shit was just crazy. So, I seen Busta Rhymes in the back, and this is right when, when Put Your Hands Where I Can See You Just Dropped. I said, yo, I'm bringing you on stage, and he was like, where? I was like, yeah, but I ain't got the record. I turned, I seen Flex. I said, Flex, I need to put you, put your hands where I can see joint. Gave me the record. I go on stage, I do this 15 minute set, shaking this motherfucker till the man was so crazy. Then I stopped. I said, yo, I ain't done. And then I dropped Put Your Hands Where I Can See Him. Busta come wiggling his ass out there. To this day, to this, yeah, pause. To this day, me and Busta talk about the win that we felt from people screaming at us. I'm glad he was there to witness that shit, because if I was by myself, nobody would believe that shit. He brings it up like, yo, Kid, do you remember the fucking win from the people screaming at us? It was so crazy murder. My daughter's mother, Vena Love, mother, at the time, she was at the show. She used to go to all the garden shows. She said, Kid, I was there. She said, I never seen no shit like that. She said it looked like people were throwing people. She was like, this shit was just shaking.

Speaker 2:
[24:50] Kid, not to fast forward, because working with Aaliyah is crazy, but I'm just still visualizing.

Speaker 4:
[24:54] But to do that for, but the point I was about to make, to do that for Aaliyah, and to see what the outcome for Aaliyah was, that's something that's always gonna live in me forever. You know what I'm saying? That's the bigger, that's the part of it. It wasn't so much the show, was I was able to do that for her. You know what I'm saying?

Speaker 2:
[25:11] And then, Kid, when you say Biggie and R. Kelly, did they do, you must be used to me spending? Did they come out to that, to where Biggie did some other shit?

Speaker 4:
[25:21] No, well, yeah, no, no. No, I had left by the time R. Kelly came out. R. Kelly was last.

Speaker 1:
[25:28] I already had left.

Speaker 4:
[25:29] I left in the middle of a Biggie show.

Speaker 2:
[25:30] Oh, so Biggie didn't bring R. Kelly out at that point?

Speaker 4:
[25:32] No, it was, the show was me, Biggie and R.

Speaker 1:
[25:35] Kelly.

Speaker 4:
[25:35] So R. Kelly was coming out last, but I don't know if R. Kelly came out with Biggie or if Biggie came back out with R. Kelly because I already had left.

Speaker 1:
[25:42] Got you.

Speaker 2:
[25:43] That shit is crazy. That's why we bring this guy out.

Speaker 4:
[25:45] I was also on tour with R. Kelly and Salt and Pepper. That tour was ridiculous.

Speaker 2:
[25:50] Who? Who say?

Speaker 4:
[25:51] Salt and Pepper and R. Kelly. It was Salt and Pepper's tour.

Speaker 2:
[25:53] What year was that?

Speaker 4:
[25:54] God damn.

Speaker 2:
[25:56] See, we bring the legends on this show. Let me see your light up, man.

Speaker 4:
[26:00] What year we did that?

Speaker 2:
[26:01] It's just classic shit right here. That was 94.

Speaker 4:
[26:04] Then we did the Budweiser Superfest Tour, all the Def Comedy Jam Tours. We did the-

Speaker 2:
[26:10] How was it with Salt and Pepper? Because you know, they was like the first sex symbols of hip hop. Back in the days-

Speaker 4:
[26:14] It was crazy.

Speaker 2:
[26:15] Remember when Pushy came out? Oh my God. Pushy. Yo, they was like, they had the tight leather suit going on.

Speaker 4:
[26:20] They got the salt going down now too.

Speaker 2:
[26:21] Shout to Salt and Pepper, Spinderella. I always debate over which DJ is which, because I'm the first Spinderella.

Speaker 1:
[26:26] How was it with Def Comedy Jam, man? Take us back to those days, kid.

Speaker 4:
[26:29] That shit was crazy.

Speaker 2:
[26:30] Word. Yo, that was classic.

Speaker 4:
[26:31] I forgot.

Speaker 2:
[26:32] Good one, Murda. Let me see your light up, Murk. That was a good one, because I forgot about Def Comedy Jam.

Speaker 4:
[26:37] To be there with all them dudes, man, like, you got to keep in mind, like, Def Comedy Jam, before Def Comedy Jam, it was Eddie Murphy, it was Richard Pryor, it was Red Fox, it was The Standards. It was in the whole big lane for comedians. So Def Comedy Jam gave a stage for comedians that was real funny and real dope in their own city. They never had no outlet, you know what I'm saying? So when they got there, it gave them a big outlet on a big stage. And then you got me, this DJ on the show, that it just gave a different kind of feel to the shit. And the real party was before the cameras went on. That was when the real shit was popping. That was when the party was shaking in there. And then when the cameras went on it became funny time, but the whole shit was dope. And we went on a tour, we went on Def Comedy Jam tour. That's when they really got a chance to really see.

Speaker 2:
[27:25] So how was it? Name how was Martin being around everybody?

Speaker 4:
[27:29] Being backstage.

Speaker 2:
[27:30] We gotta hear backstage, because Martin was the-

Speaker 4:
[27:31] Being backstage with Bernie Mac.

Speaker 1:
[27:33] All type of people, Bernie Mac.

Speaker 2:
[27:35] We wanna hear them stories. How was it around Bernie Mac? How was it around Martin? Who else was on there? It's a list. Look him up, Edwin. You the moderator, right?

Speaker 1:
[27:44] You gotta let my man Kid Capri talk right quick though, man.

Speaker 2:
[27:46] I'm letting him talk, but I'm letting him moderate too. Find out all the people that was on Def Comedy Jam.

Speaker 1:
[27:51] What the he doing over there?

Speaker 2:
[27:52] Find out all the people.

Speaker 1:
[27:53] He don't know. Tell us about Bernie Mac, kid.

Speaker 2:
[27:55] How's it going with Bernie Mac, Martin?

Speaker 4:
[27:57] Bernie, right, that was funny all day. Like, you'll be on the tour bus with Bernie and he'll have you laughing the whole trip. You know, he put his little stocking cap on and he had his Heineken in his hand and shit and would tell jokes the whole trip, like, through cities and shit. And you go to sleep in your bunk and now he go fuck with the bus driver and make him laugh to where he got to pull over and shit because he laughing. Like, he was naturally like that and he'll do that. Get to the city, get on stage, shut that shit down, host the whole show, shut that shit down, get back on the bus and do the shit all over again. This was him every day. You know what I'm saying? I have videos and all kinds of shit from us backstage and all kinds of shit. So, you know, to see them. I remember one time when Chris Tucker, he got on my tour bus. We took my tour bus out and Chris Tucker got on the bus. Chris Tucker was hot on Def Comedy Jam. He sat on my bus and he said, yo, I ain't never been on the tour bus before. This is crazy. I've never seen no shit like this before. Two years later, he was making $20 million making moves. Two years later. At the time, I was getting paid more than he was.

Speaker 1:
[29:06] Look at that.

Speaker 4:
[29:07] You know what I'm saying? So shit could happen in an instant, depending on how much ground you put into it. Def Comedy Jam put those dudes out because today you see everybody cap ring.

Speaker 1:
[29:16] You ain't lying. Everybody.

Speaker 4:
[29:18] All these dudes.

Speaker 1:
[29:19] Everybody that came up on that shit.

Speaker 4:
[29:20] That came from that shit. So it was a big platform for all of us.

Speaker 2:
[29:24] What's the list? What's the list of everybody who's been to Def Comedy Jam?

Speaker 1:
[29:30] Hell yeah. You don't even remember Kevin Hart from Defqon and the Jam. Kevin Hart was around there.

Speaker 2:
[29:41] Typically Hatties, too.

Speaker 4:
[29:41] That's the tip of the iceberg.

Speaker 1:
[29:43] Yeah, cause there was so many people.

Speaker 2:
[29:44] That's crazy.

Speaker 4:
[29:45] There's the ones that didn't make it big. You know what I'm saying? You know, Charlie Burnett and like people like that that didn't make it with the big name, and them motherfuckers was incredibly funny as shit. You know what I'm saying? And they tore the shit down, you know, but everybody couldn't go. It was so many. We gave so many a platform.

Speaker 1:
[30:05] What surprised you the most on stage?

Speaker 4:
[30:09] I'll tell you who surprised me as a guest the most, and that was Dolomite. When Dolomite popped his ass out there, that shit was like wow.

Speaker 2:
[30:16] Dolomite.

Speaker 4:
[30:17] Dolomite was on Def Comedy J.

Speaker 2:
[30:19] That shit was crazy.

Speaker 4:
[30:20] I was like, oh shit, Rudy Ray Moore. He was on there. I was like, wow. So yeah, we brought a lot of people out and everything. Like the great thing is when you seen the guests, all the guests that was there. But you know, the crazy thing is a lot of shows I've done. I've had Michael Jordan sitting right next to me while I'm tearing down, you know what I'm saying? Like, place like, you know, people don't like Donald Trump. I'm not a Donald Trump supporter or none of that shit or what he does and nothing to guess. I'm not in political or nothing, but I did a party in Donald Trump's house.

Speaker 2:
[30:49] That's crazy.

Speaker 4:
[30:50] I did Martha Stewart's first hip hop party. Like, you know what I'm saying? Like I did a lot of the shit there. People don't really know.

Speaker 2:
[30:55] This is why we got you on the show, man.

Speaker 3:
[30:57] This thing is crazy.

Speaker 4:
[30:58] You know, and at the end of the day, you know, God put you in the position. So you just do what you do. Sometimes, you know, we have to talk about it. Just keep going. You know?

Speaker 2:
[31:07] That's crazy, bro. You ever work with Michael Jackson?

Speaker 4:
[31:11] No, but I was on the show when we did the BET Awards, when we did the tribute to Jam Master Jay.

Speaker 2:
[31:18] Rest In Peace, Jam Master Jay.

Speaker 4:
[31:20] James Brown and Michael Jackson was on that show. I met James. Me and James talked for a while. I didn't get a chance to meet him. Janet Jackson, Tito Jackson, Jermaine Jackson. I know all of them. I know Jackie. I know Marlon. I just did it. He just had me come to do their house in Indiana, in Gary, Indiana. I just came and did an event there for them. I met Marlon and Jackie there. So, Janet, how I met Janet, we were going, me and Jim, we was at the airport. We was on our way going to North Carolina to go do a show.

Speaker 5:
[31:51] Oh, Jim, you met Janet, huh?

Speaker 4:
[31:52] Right. But that's how it went down. We walking into the airport, and her husband at the time, I forgot his name, Lysken dude, he walks up to me, I didn't even know who he was. He says, yo, my wife is a big fan of yours, she wants to meet you. I was like, who's your wife? He was like, she's in the van, come to the van. I come to the van, she opens the door, she says, yo, I seen Janet. I was like, oh shit, she said, I'm your biggest fan.

Speaker 1:
[32:16] Biggest fan.

Speaker 4:
[32:17] I fell in love with her name. That's crazy.

Speaker 1:
[32:19] I bet.

Speaker 4:
[32:19] She invited me to the show. We went to the show, cause I had a show in North Carolina, she had a show in the same city we was at, but hers was in the daytime. So we went there, me and MC Lyke got on stage at her show, and then I did my show that night, and then I came and did a birthday party. So, they cool family, man, graceful family, man.

Speaker 2:
[32:36] Being Rooms, you never thought you'd be in, man. Being one of the best DJs in the world. And not only a DJ, you know, I said Grammy nominated backstage, and Jim and him corrected me, he won a Grammy. So make some noise for me.

Speaker 1:
[32:49] Oh, shit. Okay. I'm right.

Speaker 2:
[32:51] Okay.

Speaker 1:
[32:52] Should I talk about?

Speaker 2:
[32:53] Should I talk about that? Talk about that, man.

Speaker 4:
[32:55] Yeah. Well, how that happened, that was kind of by default, right? I was doing an album. I'm gonna tell you what I mean by that.

Speaker 2:
[33:02] Let him talk. Let him talk.

Speaker 4:
[33:03] Let me tell you what I mean by that.

Speaker 2:
[33:04] Let him talk.

Speaker 4:
[33:05] I was doing an album called Soundtrack to the Streets, right? My first album was Kick It Pretty Tate, where I rhymed on the whole album. I wasn't really into making an album. I got that album, Biz Mark. Biz Mark got me that first album deal on One of the Brothers, right? But he got me the album deal based on I was hot in the street for my mixtapes. I wasn't looking for no album deal, right? So he got me the album deal. Six years later, I decided to do another album where I wanted to be a producer. I wanted to be like the Quincy Jones of hip hop. So I got to deal with Columbia to do this album called Soundtrack to the Streets. Jay-Z was on the album on the first record is like that. At the same time, we was on the Puff Tour, and I was playing this track on the plate that 45 King did the beat to, which was Hard Knock Life. That record, Hard Knock Life, I was going to put on the Soundtrack to the Streets album. While I was playing in the arena, Jay heard it. Yo, kid, what's that? It's Hard Knock Life shit. He was like, yo. I was like, all right, put him on the phone with 45 King. Two weeks later, he had the record. So I gave it to him. No big deal. I'm not saying anything, but it was going to go on my album. I gave it to Jay. It probably worked out better. I gave it to him more than it was for me. You know what I'm saying? But that's the way it went. And it blew up, man. So because it's like that record, my record that was on my album with Jay, he licensed it on that same album. So that's how I won the Grammy. That's why I mean by default.

Speaker 1:
[34:26] All right, gotcha.

Speaker 4:
[34:26] You know what I'm saying?

Speaker 1:
[34:27] But that's still dope as shit, man.

Speaker 4:
[34:29] Hey, I'm grateful.

Speaker 1:
[34:30] Dope as shit. That's a blessing, man.

Speaker 4:
[34:31] Shout out to Jay.

Speaker 2:
[34:32] That's crazy. So we take it to, you know, to the, you know, he been around all these people, you know, like change the ground. But I did my homework on you. Back in the days, I heard you used to go to Harlem. You know what I mean? In the Benzes. I don't know if you had the Benz, the BM, but they said you had some shit. This is the word on the streets. Used to go to Harlem. Cause we gon go to the mixtape era. Cause the mixtape era is as important as, you was talking about battle rap. I love battle rap, but the mixtape era is important. You know, Kid Capri, Ron G. Shout out to Kid. Shout out to Kid Capri, Ron G, Grandmaster Vic, Dog Time, my man DJ Roughhands, the Rockaway Twins. You know, I mean, DJ Goldfigures, Tape Master, when niggas was going to the club. Jade Ellen Relo, when was going to the club, bringing motherfucking 15 to 20 crates. Kid Capri is in that race.

Speaker 4:
[35:34] Shout out to all of them.

Speaker 2:
[35:36] And I heard, cause Ron G, number 10, you and Ron G is like two of my favorites. Shout out to Ron G. Ron G, number 10 was a classic. You know what I'm saying? That's when Tim Dogg went against the West Coast. He had Compton, first Bronx. You know, Bronx was always crazy. Shout out to the BX. I love Compton. I'm not missing Compton, but he was the first to like go at Compton in the 80s. I don't remember, you remember that record. But I heard you used to sell tapes to like all the biggest drug dealers, Rich, Al Poe, Fritz, Guy Fischer. Is this true? Like out the trunk of the Benz or the BM Wagon? Or just explain that, express that to me. Cause I like to say-

Speaker 4:
[36:13] Like I said, what happened was, start, let's start here. Hollywood, Lovebug, Starsky, Chief Rocker, Star Child and Bruce EB.

Speaker 2:
[36:25] Legends.

Speaker 4:
[36:26] They were the mixtape gods in New York.

Speaker 2:
[36:28] Legends, legends.

Speaker 4:
[36:29] Right? So Star Child was playing in the SNS club. The SNS club was a club that not anybody was just allowed to be in because of the people that was in there. Right? So when I got in there, I'm like, oh shit. I'm looking at, I'm seeing who's who. I know who's who. I know what's what. You know what I'm saying? And me and Star started playing. Star was making the mixtapes in there. Me and him started making the mixtape together. When I stopped playing with Star, I kept making the mixtapes. But I seen something bigger than New York. You know what I'm saying? I seen it bigger. I seen it going out. And I decided I'm going to sit on the street corner in front of Rucker or the street corner on 145th Street next to Willie Berger's and sell the mixtapes for $20. So I would go to the Trader Hall and buy a case of tapes, a dollar a tape, and come out and sell them $20 a tape, make $2,000 an hour. I would do this shit every day. You know what I'm saying? These were selling $20 cracks, I'm selling $20 mixtapes, right? So what got me and said, it gave me an awareness.

Speaker 2:
[37:31] Right. But Al Po and Rich and them was buying your tapes?

Speaker 4:
[37:34] Al Po would come to my joint and buy the tape for me for $500.

Speaker 2:
[37:38] See, this is what I'm talking about.

Speaker 4:
[37:39] Because he wanted the tape that nobody had while I was recording. So he'll say, yo, kid, I'll give you $100. Nah, $200, kid, yo, $300, $500. They had to take the tape out, Po. So I would give him some tape, you know what I'm saying? But that's how it went. It was like the soundtrack to The Drug Dealers. Because when they heard their shout out on their name or shout out on the mixtape, and they going out to the street playing on that crazy system, it made them feel like a star. Got you. You know what I'm saying? So one dude told me, he was like, yo, when I dress, if I ain't have a mixtape, a Kid Capri mixtape on me, I ain't feel fly. Like it was part of the dressing.

Speaker 2:
[38:15] Look at that.

Speaker 4:
[38:16] Like with your chain.

Speaker 2:
[38:16] You know what I mean? So it wasn't like paid you for the shout out, they was just paying extra.

Speaker 4:
[38:21] No. Yeah. Right. Exactly.

Speaker 2:
[38:23] My tapes was 20 dollars. But that paying extra was like paying for the shout out.

Speaker 4:
[38:27] No, no. My tapes was 20 dollars. But there was people that would come and just give me a thousand dollars. Give me 500 just because of what I was doing. There would be dudes that want this tape. There was only one left. He want, he want to give me 300. This dude gonna give me 600 for it cause he don't want him to have it.

Speaker 2:
[38:43] Rich Porter was coming through too?

Speaker 4:
[38:44] It was crazy.

Speaker 2:
[38:45] Rich Porter too? Or just Hal Poe?

Speaker 4:
[38:47] Oh, Rich would come through every now and then.

Speaker 2:
[38:49] No AZ?

Speaker 4:
[38:51] AZ would come through. A would come through.

Speaker 2:
[38:53] Cause you know that was classic times.

Speaker 4:
[38:54] Yeah, I see A after all that shit. All those years after I see A. A's still chilling.

Speaker 2:
[38:59] But you was driving the BMW or the Benz?

Speaker 4:
[39:00] Who me?

Speaker 2:
[39:01] Yeah. I know you was looking like a drug dealer.

Speaker 4:
[39:03] You know what I was doing? I'm gonna tell you what I did. I pulled up right on 145th street, everybody out here with all their cars. I borrowed my man's Amish Camaro. What was that shit? Camaro. I borrowed that shit and pulled up right up in front of the Woolly Burgers. Jumped up on the hood, sat right there. Everybody was like, you crazy, kid? Everybody out there was fly shit. I had an Amish Camaro out there, some ugly shit. I didn't care about none of that. I still don't care about that. Today I drive a Wrangler. I can drive what I want. I drive a Wrangler, bro. I don't care. Remember, I own two tour buses. I never cared about cars. I've had cars that stayed factory, never put no rims on them. Then I put a system in it. But I don't care about that stuff. I care about other things.

Speaker 1:
[39:51] Legacy, making shit happen.

Speaker 2:
[39:52] So how was it coming up in the Bronx? Because you came up in the Bronx.

Speaker 4:
[39:56] I mean, coming up in the Bronx is the Bronx. I lived in the good part of the Bronx, living in Kingsbridge, you know what I'm saying? Right next to Riverdale, which I moved to Riverdale later. It wasn't rough like the South Bronx, but we ain't take no shit. Couldn't come to that block with no dumb shit. Ones that did, left their bag. So it was definitely an area where everybody took care of each other, everybody looked out for each other, everybody was straight. You know, and then I opened up a hair shop over there called Evanesce Unisex for 10 years. Me and Curtis Smith. Curtis Smith was a celebrity hairstylist. He, you know, always going back, just making sure everything's good out there. But yeah, but we always had a good time. There's never been no real problem in the Bronx, man.

Speaker 1:
[40:38] Fast forward, Rain, how did you connect with Kendrick Lamar, my guy?

Speaker 4:
[40:43] He reached out when he was doing the Damn album. So when he came out to New York, I met him in the studio and he gave me an idea what he wanted to do. I gave him some ideas of what he should do. And what surprised me about Kendrick is how smart he was and how much history he knew. Because I said this in another interview, when I asked him, I said, you could have had DJ Poole or Battle Cat, one of them legends out there in the West Coast, to come and do this while you didn't call them. His response was, I know what you did for the music business. I know what you did for DJs. I know what you did as a whole. A lot of people wouldn't be eaten if you didn't do what you did. So I wanted that authenticity on the album. I was like, wow. Look at that.

Speaker 1:
[41:30] That's dope.

Speaker 4:
[41:31] It was dope for him. He really did his homework. So that's where it impressed me the most. Real smart, laid back, calm dude. And really focused. You know what I'm saying? Yeah, I'm older than him and I look up to him. You know what I'm saying? He's really good at what he does.

Speaker 1:
[41:44] That's dope.

Speaker 2:
[41:45] I didn't even know you was in the studio with him. That's crazy. Yeah, we did it together.

Speaker 1:
[41:48] It was on the project, man. On the damn project, man.

Speaker 2:
[41:51] You produced it or you just had it all?

Speaker 4:
[41:53] I narrated the album. I did about five joints.

Speaker 1:
[41:57] Y'all do your homework, Mr. Yayo.

Speaker 2:
[41:59] Man, I knew about this. I knew about the Rich in Alpo shit.

Speaker 1:
[42:03] All this I know, Kid Capri said, but Dre know he was on Kendrick Lamar's album.

Speaker 4:
[42:07] All these new records I got coming out too.

Speaker 3:
[42:09] Boy, I tell you, man.

Speaker 2:
[42:11] We off camera, we brothers. When the camera come up, it's like, that's what I said, Kid Capri took all the shit he was talking back there. that, lights, camera, action.

Speaker 1:
[42:24] And this music business, right? And you've been doing business for so long. Has anybody ever owed you money, kid, that you find it hard to get them money from?

Speaker 4:
[42:31] Bunch of owed me money today, today.

Speaker 5:
[42:35] That's why I don't need nobody's shit no more.

Speaker 1:
[42:37] Oh shit.

Speaker 4:
[42:38] They ain't getting shit from me no more. Because what happens is, I'm not going to ask you for it. I'm just going to remember I gave it to you.

Speaker 1:
[42:45] Got you, got you.

Speaker 4:
[42:46] You know what I'm saying?

Speaker 1:
[42:47] Got you.

Speaker 4:
[42:47] And that's the problem. You know? Now, depending on what it really is, how much it is, I may come and be like, yo, where's that paper?

Speaker 1:
[42:56] We got to do something here.

Speaker 4:
[42:57] But if it's something that I could do without, it's all good. For whatever it was, it got you away from me. I ain't got to worry about you no more.

Speaker 1:
[43:03] Got you. Got you. Got you.

Speaker 2:
[43:05] Yo, talk about, you know, shout to my man Dre, shout to Kid Capri. He's not only a producer, he's a rapper, you know? Shout to the New York Knicks, cause he's on his New York shit.

Speaker 4:
[43:18] This dude right here, let me tell you what happened. Let me just talk my shit. Cause Yayo didn't want me to tell you, he didn't want me to say nothing.

Speaker 1:
[43:24] Oh, shit. Well, he didn't want you to say, you definitely gotta say it now, man.

Speaker 4:
[43:26] He didn't want me to say shit, all right? And this is when I dropped live from New York, right? I ain't even dropped live from New York yet. He heard, shout to Robbie Robb. Robbie Robb had hit me on the FaceTime. He was with Robbie Robb, and I was playing live from New York on the FaceTime. Yayo heard that shit and was like, yo, play that shit again. Played it again. He got right on the phone and called Dre. Yo, Dre, I need you to make sure this shit is rocking in the States. In the garden.

Speaker 1:
[43:56] Master Squid Garden.

Speaker 4:
[43:56] Master Squid Garden. Now, listen, the record wasn't even out yet.

Speaker 1:
[43:59] You about to give this some props right now, man?

Speaker 4:
[44:01] Yo, I'm giving it to him crazy.

Speaker 1:
[44:02] Oh, man, man, poor...

Speaker 4:
[44:06] The record wasn't even out yet. It was two weeks before the record was even coming out. This shit was rocking in the garden. This shit was all in... They were playing it while they were playing the game.

Speaker 2:
[44:15] Playoffs, baby.

Speaker 4:
[44:15] Then they called me down there to come do a bunch of shit for the garden and all that shit. This shit wasn't even out yet. This bro, he really set it off for me for that record before I even got a chance. Now, the smart thing was, I didn't want people to think it was a New York Knicks record in case they lost, so I waited for them to see if they were gonna lose or win before I dropped the real video out.

Speaker 2:
[44:36] Murda, at the end of the day, I had the sound in the ear. This guy is a dope producer. He's a rapper, you know what I'm saying? And he's the number one DJ.

Speaker 4:
[44:45] That was a dope look. He did that.

Speaker 2:
[44:47] When you go back to battle rappers, I think when battle rappers, the most challenge for them is when they make records, people look at them in one pocket. But when you look at Kid Capri, you look at him more as top tier DJ in the world instead of looking at him as a rapper or a producer. You understand what I'm saying?

Speaker 1:
[45:05] I got you. Pass my lighter.

Speaker 2:
[45:06] Oh, definitely. I got you. I was about to steal it. You know what I mean? But you know what I mean? Like they look at him as, yo, he's number one producer because when he get on them turntables and you hear, Kid Capri, you know.

Speaker 4:
[45:17] The party DJing, what I do is the party DJing. It's all kind of DJing. You know what I'm saying? I'm not the best. I'm the best at what I do. You know what I'm saying? What I do, set the tone for what you see everybody doing. It's Kid Capri and them, you know what I'm saying? They got some kind of blueprint or something from my chemistry of what I've done. So I mean, I ain't got to sell that to nobody. Everybody knows that. People that probably did my style got it from somebody else that don't know they got it from me. It is what it is. I'm glad to be able to have that influence on people to do that. You know what I'm saying? That's a gift. You know what I'm saying? But at one time, I didn't like that shit. One time I was like, why everybody doing my shit? What the fuck is everybody doing my shit for? Find your own shit. Saying, I ain't come and sound like Boosie. I ain't come and sound like star. And I came and I found my own shit and I moved with it and it worked. Find your shit. Be influenced, but don't copy. We don't come from that. But what are you going to do? So once I got over that and really looked at it for what it was, it was like, yo kid, you influenced the world, B. You really did that shit. Like you really did that shit. So once I got it to that, it was like, yeah. That's dope.

Speaker 1:
[46:29] Now you entertain radio for a little bit, but you was never like the big radio DJ guy like that. Why you didn't choose that path? Why you didn't pursue that?

Speaker 4:
[46:38] Because everything for me is a stepping stone. The mixtape was a stepping stone. It wasn't a career move. Deaf Comedy Jam was a stepping stone. It wasn't a career move. Even though we had a dope career doing it, we was on for nine different seasons. I would have kept going for nine more, but it was a stepping stone. It was the next thing. It's always an album. And then, you know, the next thing, I always try to innovate. This is why I try not to follow, I try to give something that people might want that they never seen before, because we, especially in right now, we have abundance of everybody doing everything. Everybody's a rapper, everybody's a stripper, everybody's everything. Everybody got something to say, everybody's name, somebody they name.

Speaker 1:
[47:21] Everybody got a podcast.

Speaker 4:
[47:22] Everybody got everybody.

Speaker 2:
[47:24] them.

Speaker 3:
[47:25] You know, but see, no, there's nothing wrong with the podcast.

Speaker 5:
[47:29] It's who's doing it.

Speaker 2:
[47:31] That's right.

Speaker 4:
[47:32] That's what it is.

Speaker 2:
[47:33] Just like everybody ain't Kid Capri.

Speaker 4:
[47:35] Everybody can't do everything. You know what I'm saying? You know, like the album thing. Not everybody's supposed to be making albums. That's why the album narrative went down. Because make an album and have 12 garbage records on there and one good song.

Speaker 3:
[47:49] So now you go get the one good song.

Speaker 2:
[47:50] Because that's what they turn the game. Listen, who do we blame? Do we blame radio? Do we blame the DJs? Because that's what they change the game into. I look at it like this. Listen, hold on. Let me say my point.

Speaker 1:
[48:00] You ain't even say nothing yet, brother.

Speaker 2:
[48:02] No, because I'm like Kid Capri. See, why I think the 80s was the classic era for hip hop for me, is because it was all about New York City. Right? You had KRS1, you had fucking Eric B, Rakim, Big Daddy Kane, Slick Rick, Kumo D. You had Rick as self-destruction, you had Stetsasonic. Stetsasonic, yeah. Stets, saying it wrong.

Speaker 1:
[48:30] Saying it wrong, brother.

Speaker 2:
[48:30] You had a couple of dicks. All right, let's name more. You had DJ Red Alert. You had, what's my man?

Speaker 1:
[48:40] The list goes on and on, though. We get it.

Speaker 2:
[48:42] There's so many DJs. For me, the 80s was like, and then you always gotta say Ralph McDaniels. Cause I'm the nigga that-

Speaker 4:
[48:50] Absolutely.

Speaker 2:
[48:51] Was in the crib when I hear that.

Speaker 4:
[48:53] He don't get the credit he deserve.

Speaker 1:
[48:54] He definitely dope, man.

Speaker 2:
[48:56] He used to be before BET, all that shit.

Speaker 4:
[48:58] He don't get the credit. Just south of Ralph McDaniels. He don't get the credit.

Speaker 2:
[49:01] When you used to hear that, it was like, at that point-

Speaker 3:
[49:06] That shit was like on Soul Train.

Speaker 2:
[49:07] Yeah, you heard. As a kid, it was Soul Train and that. Soul Train was on Saturday, you know what I'm saying? You wanna go on that shit for the chicks. That's when you see girls in tight outfits as a kid. But when I heard that, and Big Daddy Kane is on there with the big chain, right? Hey, go give me the dog. Slick Rick. Like for me, like even Run DMC, classic shit for me was, it's Christmas time in Hollis Queens. Mom's cooking chicken soup. Because that was like a Christmas song. It's like a Christmas album. That was just, for me, those were like the best times in my life, man. 80s, man. Block parties, DJs, scratching. There was actual turnt. For me, I don't know how to mess with CDJs or not. My man, Rough Hands, I went to Grand Master Vic parties. I went to Jamaica Avenue to buy mixtapes, Dog Time, Grand Master Vic. Then came Clue. You changed the game. We with you, Clue. We changed the game. I like Blends. You know what I'm saying? I like, we had our share. That's the Queen's anthem. I was in them parties, Grand Master. So for me, I was like, yo, this is classic hip hop. Rest In Peace, The Freaky Tidal, Lost Boys. Remember when they came, I was around. I was in the streets listening to that, but as a kid, Ralph McDaniels, bro? Talk about that, man. Ralph McDaniels, that time in hip hop, to me, the 80s was just all about New York.

Speaker 3:
[50:37] Yeah, he deserve it, man.

Speaker 4:
[50:38] He deserve to get more recognition than he got, man. You know what I'm saying? Because he really put it in. You know what I'm saying? He really put like, he really care about it. You know what I'm saying? And that be the problem. It be the ones that really care about it, they don't get the recognition that they're supposed to. And the ones that really don't give a shit, you know, they come to the show late. You know, they think, they get on stage with a thousand people. They come do two songs. They rhyming over their record. They don't really care. You know what I'm saying? They care about the wow factor. Look at me. I'm here. Look at me. It become that. You know what I'm saying? But when you, you could tell when somebody that is on stage and they, like, I don't like to put myself in it, but I have to use it. When I'm on stage, I look at myself as if I'm in a crowd watching me and what would make me like me? What would make me want to come back and watch me again? What would make a promoter pay to have me come back again? What would make these people pay again to come see me again? You know what I'm saying? So I become them. It's never about me. And a lot of times, a lot of different artists and people, it becomes about them. And that's where the fall off comes at. They might be popping for that minute, but as soon as they think it's about them, that's when you see the fall off come. It's never about you because these are the people that put the money in your pocket to pay your likes. How do you not give them the best you can give them? How do you not be humble enough to show that they're part of you and they're inclusive? You know what I'm saying? We're not fucking better than nobody. We just got a better job. We might have a better job, but we shit and tickle.

Speaker 2:
[52:17] Kid Capri, stop being modest. You're better than a lot of people.

Speaker 4:
[52:19] Just the real shit, though.

Speaker 2:
[52:20] You're better than everybody.

Speaker 5:
[52:22] But it's the real shit, though.

Speaker 4:
[52:23] It's the real shit.

Speaker 2:
[52:24] Yo, I wanna hear that.

Speaker 5:
[52:25] I wanna hear that. I appreciate that.

Speaker 2:
[52:26] I appreciate that. I wanna hear this modest shit. Yo, listen, bro. No, this is what I'm... Being one of the greatest ever all time, right? What the fuck is the mindset of like... Because being a DJ is the toughest job. People say being a rapper is the toughest job. But being a DJ is the toughest job. Y'all might get shot at less, of course, right? But...

Speaker 1:
[52:48] Definitely.

Speaker 2:
[52:49] Yeah, y'all get shot at less. So y'all are a little bit better than the rapper.

Speaker 5:
[52:52] But think about this.

Speaker 2:
[52:54] What's the mindset? I'm Kid Capri, right? Okay, how do I work this crowd? Am I going reggae? Am I going hip hop? Am I going R&B? Am I going Spanish music? Like, how does a DJ... Cause you know what I'm saying? How do you know how to move the crowd? Like, what would be your advice to a DJ? Like, if I was DJing and I'm in fucking London, what are you gonna tell me? Play Afro beats? Or if I'm in New York, in Harlem, like what is... Tell me, what's the mindset? That's what I want to know.

Speaker 4:
[53:26] For years and years, I've been doing this shit. I've been traveling all over, right? It's your job to know what's going on in that city. So I will call the top DJ out in the city or the promoter out in the city and say, yo, what's popping in? What's the top 10 things popping in that city? And by the time I get to that city, I'm doing that. And those people are surprised because these records, if I'm playing, let's say it's music, those records are never heard nowhere else. They just pop it in that one city and it's an underground thing. Right, so when I come and play that shit, they're like, how the fuck he knows that?

Speaker 1:
[54:04] Oh, you do your homework.

Speaker 4:
[54:06] It been like that for years.

Speaker 2:
[54:07] How do you play that record first?

Speaker 4:
[54:09] Yeah, so when I play it, the crowd is losing their mind.

Speaker 2:
[54:12] Oh, you're a fucking genius.

Speaker 4:
[54:14] And this is all over. If I'm in Alaska, I know what's popping in Alaska.

Speaker 2:
[54:18] Thank you for the secrets.

Speaker 4:
[54:20] I just gave y'all one on one just now.

Speaker 2:
[54:22] You bum ass DJs. That's crazy.

Speaker 1:
[54:25] Now, I do Kid Capri make the transition to rapping now. Cause now you rap. I even get a lot of DMs on Instagram or a lot of ads. And I be thinking I'm getting a personal message like, yo, what's up my nigga? But it be like, nah, check out this new shit I'm spitting.

Speaker 5:
[54:42] Like, what's good?

Speaker 1:
[54:44] So how the transition happened with that kid?

Speaker 4:
[54:46] It never was a transition. My first, before there was a, before there was a Rough Riders, a Cash Money, a No Limit, a Bad Boy, Kick It Pre had a rap album, Kick It Pre to Tate.

Speaker 1:
[54:56] Oh, okay.

Speaker 4:
[54:57] Right, so-

Speaker 2:
[54:58] Through your homework.

Speaker 4:
[54:59] Rap records never been my bread and butter. I make rap records cause I want to. DJ shit always been my bread and butter, right? So I didn't make records every year. You know what I'm saying? You know, like that. So like I said, when I did the first album, it was a rap album. The second album was a production album. I only rhymed an album twice. My next album after that was 24 years ago, which was 24 years later, which was the Love album, which I put out in 2022. Since then, I've been putting records out up until last week. But I only have three, four albums, the Hoodies album, three, four albums throughout all these years because they never been my bread and butter. I didn't want to deal with all the. Everything it come with. It come with, especially make my type of album, all the clamor says and all that shit. I say, you know what? Let me just do it when I want to do it. And now that we in the everywhere, you ain't got to have no handcuffs on you. You know what I'm saying? You can do things and.

Speaker 1:
[55:48] Social media just get to have fun. If I want to put this shit up. You can just have fun, you can do what you want.

Speaker 5:
[55:52] You can just do it.

Speaker 4:
[55:52] Got you.

Speaker 5:
[55:53] You know what I'm saying?

Speaker 2:
[55:53] You don't think there's a point in time where, like if y'all agree with this, because this is how I feel. That people try to like devalue the DJ. Cause like I said, okay, let's go. No, let me tell you, just, we go from the 80s. Terminator, look, Terminator.

Speaker 1:
[56:11] Love this 80s. You know what, go ahead, go ahead.

Speaker 5:
[56:13] You gotta let me talk. Learn to let people talk.

Speaker 1:
[56:16] I always let you talk about RL Cool.

Speaker 2:
[56:18] Let me explain my synopsis, Right?

Speaker 5:
[56:22] Right?

Speaker 1:
[56:22] You heard that. That's what it's called, synopsis.

Speaker 6:
[56:24] You know he's been drinking a lot to that synopsis. Let me do my shit.

Speaker 5:
[56:28] I like that one.

Speaker 6:
[56:29] Go ahead, that's a good one.

Speaker 1:
[56:30] That's a good one.

Speaker 2:
[56:31] Enjoy your life. Right? So what I'm saying, like in the 80s, right? We knew who Terminator what? Terminator X, right? Terminator X, he had the big glasses.

Speaker 6:
[56:41] Right.

Speaker 2:
[56:42] We knew Jam Master Jay.

Speaker 6:
[56:43] Right.

Speaker 2:
[56:44] Right? Let me think. Who was Slick? We knew Eric B and Rakim, right? Who was Slick Rick DJ again? Do you know?

Speaker 4:
[56:52] Rads White was his DJ.

Speaker 2:
[56:55] But at that point-

Speaker 1:
[56:56] You didn't know him. I like how you just stopped that question.

Speaker 2:
[56:58] Because I forgot Slick Rick, because I know he always had the Kango and shit. Let me tell you, I didn't know who he was. Now look, that was the point time of the DJ. Then you fast forward to like, what you say, the 90s, where you had Kid Capri was still, he was in the 80s, but the 90s you had Kid Capri, the 80s we would say, what? 80s Red Alert, we would say, what year was Red Alert? Red Alert started-

Speaker 1:
[57:22] I'll give him the 80s too. Yeah, what was the shit?

Speaker 2:
[57:25] Yeah, where had Red Alert-

Speaker 4:
[57:27] Where you going with it though?

Speaker 2:
[57:28] When I'm going with it, I'm not trying to confuse you. Where I'm going with it.

Speaker 1:
[57:31] Because you're confusing me, kid.

Speaker 2:
[57:33] Y'all now let me finish my synopsis.

Speaker 5:
[57:36] Oh shit, oh shit.

Speaker 4:
[57:38] It's not synopsis.

Speaker 2:
[57:39] Look, the 80s, the DJ was relevant, like to an extent where you was watching Eric B as much as Rod Kim. Let me keep going.

Speaker 4:
[57:49] I know what you're about to say, I'm a hussy.

Speaker 2:
[57:51] The 90s, even like, what I'm saying is like, even in the 90s, you had Kid Capri, you had Flex, anything. They had albums at that point. Like Kid Capri had an album, Flex had an album, Clue had an album. Before DJ Khaled, it was more like, now you only see DJ Khaled with an album. No disrespect to him, but it was just more shit, like a Flex album would come out, and you'd be like, oh shit, we got this freestyle. Kid Capri, oh shit, he might have this freestyle from a from Harlem or he might have some big L shit. Clue, oh Clue, oh he got a Nas freestyle. Know what I'm saying? That's all I'm saying. It just seemed like it was just more to DJs, it was just more bad, it was just more value to it. I'm not, and I love all the DJs till this point now. That's why we got them on the show, but I feel like niggas don't give just dude certain DJs, or DJs in the game, period, like how they used to in the Marist. That was my synopsis.

Speaker 1:
[58:50] That was my man, he can assist the synopsis, that kid, let me-

Speaker 2:
[58:53] Do y'all agree or no?

Speaker 1:
[58:55] I want his take on this.

Speaker 4:
[58:56] I want to know what the question is.

Speaker 2:
[58:58] No, do you feel like, sometimes, a like you we got on the show, it's important to have you on the show to show how important you are to hip hop. Sometimes I feel like don't give-

Speaker 1:
[59:09] You said the DJ position got paused, like it's not-

Speaker 2:
[59:13] They act as much as it used to be. Yeah, like in the 80s, 90s to now.

Speaker 5:
[59:17] When something gets-

Speaker 4:
[59:19] All right, let me back up. Like they was the stars, In the 80s, before rap records, it was Grandmaster Flash and the Furious Five. It was Grand Wizard Theater and the Fantastic. It was Charlie Chase and the Cold Course Brothers. What was the DJ name first, right? Records came in and then DJs would scratch on the records a little bit, right? But then they didn't need DJ scratching on the records. They started making records. They were making records with bands, right? So when they didn't need the DJ to be scratching on the record no more, the name wasn't there no more. It was standing in the front. Now when the 90s come, you got people like Premier that's scratching on the record, but it's a different type of hip hop now. It's more advanced now, right? Now when you get to the mixtape ever with me, right, now it becomes a one man show. I don't need a rapper. I don't need none of this shit. I could do everything, right? That transformed it to the tape. Now the tape got so popular that we start getting album deals now to make it, to take artists, I was the first one, take artists, put them together, make an album. Right, right. Now when something gets hot and everybody does it, eventually it's gonna get warm. It's gonna get warm. It's not gonna stay around because everybody's doing it that probably ain't supposed to be doing it. You see what I'm saying? That goes for anything. So that's, listen, one day somebody said, I'm gonna get a tattoo and everybody got fucking tattoos. One day somebody said, I'm gonna smoke a hookah. Nobody know what hookah is. Everybody start smoking hookah to sound cool. You don't even know what that shit is.

Speaker 2:
[61:10] We seen that overseas.

Speaker 4:
[61:11] This is what I'm saying. When something gets hot, we overdo it until it ain't hot no more.

Speaker 2:
[61:16] How many DJs had albums? It was only Flex, you, me, Tony Touch, Flex, Clu.

Speaker 1:
[61:22] There's a lot of them. There's a lot of them.

Speaker 4:
[61:24] Kelly, like it's-

Speaker 2:
[61:25] No, there wasn't that many though.

Speaker 4:
[61:27] I mean, no, it wasn't that many. Of course not.

Speaker 2:
[61:28] Flex, you said Tony Touch, you, Flex, Clu.

Speaker 1:
[61:32] West of Peace, K-Slay used to be put-

Speaker 2:
[61:33] Oh, West of Peace, K-Slay.

Speaker 4:
[61:35] Yeah.

Speaker 2:
[61:36] That's really-

Speaker 4:
[61:37] I mean, that's a good handful for where we came from where DJs wasn't looked at to do that.

Speaker 1:
[61:42] Yeah.

Speaker 4:
[61:42] You know what I'm saying? So keep that in mind. I set the trend with Soundtrack to the streets and that opened the door. You know what I'm saying? But it still didn't bring us to where we are on the front page of magazines. We are being highlighted the way we're supposed to be highlighted at award shows and shit like that. It's still a long way. I fought for the fact of I'm not going to be treated like some nigger playing music. You know what I'm saying? Just playing records. You're going to put me center stage like you put the hit artists. You ain't put me on no bottom of no flyer. You ain't treat me like that. You're going to treat me like an artist. I'm going to get paid the same way because here's the science of it. If I'm taking a room and I'm filling this... If you get an artist and he fills this room, sells it out, and you put me in that same room and I sell it out, this man's on stage for two hours doing two songs. His hit record, his first record, maybe another record, he's out of the door. He ain't going to give you no real show. I'm there for two hours shaking this shit. Same amount of people, same amount of bread. You're going to pay me the same way you're paying him. Where you're going to look at it because I'm playing other people's music and I'm a DJ, it's any different? It's a performance. At the end of the day, if I'm doing my job better than him, it ain't worth more than what he's supposed to get or the same. Nah, so me standing on that made me become who I became. I knew how to say no to people very early. Nah, I'm good. Give it to the next one. Give it to the next, I know the worth. You know what I'm saying? I know what I bring to the table. I know what kind of man. One time a dude walked up to me. I did a show. I filled up four floors, sold it out. He got so excited. He said some shit to me he wasn't supposed to say. He ran up on me.

Speaker 5:
[63:19] Yo, kid, yo, you killed this shit.

Speaker 4:
[63:20] This shit was crazy. Yo, I made $250,000, $210,000 on you, just on the bar alone. I was like, well, all right. And from that day on, I got what I wanted. Got you.

Speaker 2:
[63:33] That was excited. He made that brand.

Speaker 1:
[63:35] Exactly.

Speaker 4:
[63:36] Because look at it this way.

Speaker 2:
[63:37] He ain't mad at him, bro.

Speaker 4:
[63:38] Look at it this way, right? For years.

Speaker 1:
[63:40] So it was just your name on that flyer?

Speaker 4:
[63:42] Just my name on the flyer. This is all over the country. This is everywhere I go out of the country. This is islands everywhere. I fill that shit up by myself. I don't need no artist. I don't need none of that shit. I sell out where we go. You know what I'm saying? Because that's what we built up. But you're making money from the bar. You're making money from the food. You're making money from the parking. And you ain't paying this to the artist. So how do you bitch about what I want from that door? You pay me what I want. And that's why it's not... But with that, you got to bring a certain amount of artistry to that stage to demand that.

Speaker 1:
[64:19] Everybody can demand that.

Speaker 4:
[64:21] Everybody can demand that. And if you're going to demand that, you have to bring what backs that up. You know what I'm saying? And that's where we get a little bit entitled. Where we think we got a little hit record out and we pop it because we got a hit record out. Okay, record's going. What are you going to do for me to hear your next record or come to your show and enjoy it and buy your merch? That's what I'm saying. That's a whole big picture. Before you get in this business, you got to know that. Cause you be here today, go on tomorrow. Don't watch come today, be here. It be here. Today, they can't get a show.

Speaker 2:
[64:55] DJing is like rappers. It's competition and he know that. I know he ain't going not admit to that. I'm going to tell you why. Shit be different. Like when you a big dog and I know Flex and Kid Capri and all these do that. Like, you know how like the first DJ be there? He open it. Kid Capri be like, yo, tell that don't play certain records until I get there. No. Sir, no, I'm just saying, maybe not him. Maybe not you.

Speaker 1:
[65:21] I'm sorry, you don't do that.

Speaker 2:
[65:22] But look, not you. When you a big dog, I thought you was allowed to do that. To tell, if you were open, listen.

Speaker 4:
[65:29] If you were open.

Speaker 1:
[65:29] Let me explain it to you. Break it down, yeah? Let our guest talk.

Speaker 4:
[65:33] That's not how it goes. How it goes is, because I want people to get their money's worth, right? I'm not the dude that's happy to do your fucking event. I'm happy to do your event if everything is treated the way it's supposed to treat for the people that pay to get in to come see me. They're the number one thing. Not me, not the promoter. They are the number one thing. So I don't want to come in the show and the DJ that's trying to sound like Kid Capri plays the shit that Kid Capri plays before Kid Capri get a chance to play it at the wrong time. So what I've done was pay for an opening DJ for years all the way up until now to come in. He plays a certain amount of shit that's supposed to be played for opening and then I do whatever needs to be done.

Speaker 1:
[66:23] I don't want a random DJ never opening up for you.

Speaker 4:
[66:26] I thought that was the code that proved it. There's times we have DJs opening up, but here's the problem. I will go to them and tell them what we need to do to make this shit work in a good way. He will yes me to death. I walk in there, he's doing something totally different. I don't say nothing, you do what you want to do, but you won't work with me no more. You see what I'm saying? But the dude that did listen to me, which is like my man Jesse, Jesse James, he's from Indiana. He been working with us for years. I told him to do a certain amount of things, he did it, this dude goes around the country with me for now, you know what I'm saying? Technician to DJ, you know Technician to DJ have played for a lot. He been with me for 25 years. You know what I'm saying? He been opening with me for a long time. So these are dudes that really understand and care about what's going on, and they know it's not about them. It's about what the event is. But you have dudes that don't think that way. I'm thinking about the people. I'm not thinking about me.

Speaker 2:
[67:25] No, I thought it was like DJ Golden Rule. No disrespect. But if you don't open it-

Speaker 5:
[67:29] It should be a Golden Rule.

Speaker 2:
[67:31] That's how I learned to see it.

Speaker 4:
[67:32] It's the same thing as if you was opening for 50.

Speaker 5:
[67:35] Right?

Speaker 4:
[67:36] You, Tony Yayo, you ain't going to be doing 50 records before 50 come out there.

Speaker 2:
[67:40] That's what I'm saying.

Speaker 4:
[67:40] So if you hire me to- now, these are not my records that I'm playing. But you hired me to play these records. You want the Kid Capri shit, you want that shit. So if you want that impact, how you expect me to play around somebody that's playing the shit that I need to play to make that impact go? Even though there's a million records to play, I don't know what this man's playing. So I come here playing where he playing, I'm not going to get the impact that. That's the problem. That is not about what you play, it's about what I know you're playing.

Speaker 1:
[68:07] And when you play.

Speaker 4:
[68:08] And when you play, you know you have to play that shit at 10 o'clock at night.

Speaker 2:
[68:11] That's what I'm saying.

Speaker 4:
[68:12] But you want to get it in because you want to get it in so that on this show you can get it in. You know what I'm saying?

Speaker 2:
[68:18] That's just up the whole vibe of the podcast. Golden Rule, I learned, like CR. Bobby, DJ, Rough Heads, twins in them, and tape master in them. If my man, if Hardcore, you know Hardcore, he was the opening act for Rough Heads. He would tell Hardcore, nah nigga, don't play this. It was like Golden Rule, nah, you the opening act.

Speaker 3:
[68:37] You can't play the new Soul of Soul.

Speaker 2:
[68:40] To me, I thought it was Golden Rule.

Speaker 5:
[68:41] Listen, it doesn't matter what you play.

Speaker 4:
[68:43] I don't care, I can play the same shit after and still do what I do. It doesn't really matter. At the end of the day, there is, you should know, if you call yourself a good DJ or a good performer, a good anything, you should be able to do shit with C and D. C and D joints, come in there, shake that shit. And then when you do your own events and you have an opener or you want your event to move a certain kind of way because you have a vision of how you want it to be done, the same way a promoter has a vision of how he want his event to go. It's the same shit, it's a strategy, it's a science. Don't be mad because somebody has a science and you don't. You just free falling. You glad to be attached to the shit. So you let them put you anywhere, talk to you any kind of way, do whatever to you and you just there because you want to be attached to the event. Well, I'll tell you, go take your event, shove it up your ass if you ain't going to respect what I need to be done. You ain't going to come and tell Jay how to rhyme on on mic. You ain't going to tell him to stand in no corner. You ain't going to tell Uncle Murda he can't do his rap up at his show.

Speaker 2:
[69:43] I told no dude a rapper.

Speaker 4:
[69:44] You can't, so you're going to tell me how to do what I do and how it should be done? You see what I'm saying Murda?

Speaker 1:
[69:49] No facts, no definitely.

Speaker 4:
[69:50] This is what I'm saying. So we got to eat that and like I said, for years it been the DJ was looked at as he's the bottom, like he's the bottom one, like, you know what I'm saying? Like dog, but at the end of the day, everybody fucking relies on the DJ for your concerts, for your radio replay, your record replay on radio, for your mixtape shit. You don't say the better producers are DJs, like you rely on a DJ for every day, but you want to look at him as he's the bottom. You want to put him over here on the stage, put him on the bottom of the flat, talk to him any kind of way when you're an artist walking in, talking to the DJ crazy. Like you see the day what happened.

Speaker 1:
[70:25] Respect the DJs man, stop playing.

Speaker 2:
[70:26] Come on, we love this.

Speaker 4:
[70:27] This is what I'm saying. So this is why I started back, this is why I started rapping again and going back in the beats and doing my shit again. Because when I put live from New York out, real rappers will look at it like, oh, this kid just putting out a party record. He's rapping, that's cute. And then I put Tall Kevye on their ass. And when I drop Tall Kevye on their ass, that let them know you gotta push your pen. You know what I'm saying? And it's DJ Kid Capri showing you that. So don't look at us like we just one, you doing one thing. Nah, we could do it all.

Speaker 1:
[70:57] Right, right.

Speaker 4:
[70:58] So that's why I stand tall and stand on it like that. And that's how a lot of people should think of it. It doesn't have to do with the DJ, but as anything, stand on your shit. Don't let nobody tell you how you see your vision and how your vision is supposed to go because they don't see it that way. They don't see the worth in it or they don't see that it's supposed to be that way. Or he's a diva. You call me a diva? Cause I don't want my shit situated the same way.

Speaker 1:
[71:22] Definitely.

Speaker 4:
[71:24] You going to tell your boss he's a diva cause he wants you to work the same way, mama?

Speaker 1:
[71:28] No, no, no. This is me, man.

Speaker 2:
[71:31] Kid Capri, man, I got a question for you, right? If you had an old Caucasian crowd, what's the first place rockers you play? Old Caucasian crowd?

Speaker 4:
[71:42] Probably start with I Love Rock and Roll.

Speaker 2:
[71:47] I love rock and roll.

Speaker 4:
[71:49] Something like that?

Speaker 2:
[71:51] You know that song? Murda, I know you.

Speaker 1:
[71:52] I didn't know that song.

Speaker 2:
[71:53] You never heard that song? I love rock and roll. That's a good one.

Speaker 1:
[71:58] I did. Look at that. That's okay.

Speaker 2:
[71:59] Learn something new every day. So say we is in Washington Heights. What's the first record? Harlem, we... Dykeman, we in a Spanish Harlem. What's the first record?

Speaker 4:
[72:11] We in Spanish Harlem. We probably gonna play something about Daddy Yankee. What's that? Gasolina or something? That's old, but yeah.

Speaker 2:
[72:19] Gasolina.

Speaker 4:
[72:22] It's gonna work.

Speaker 2:
[72:23] Get that one with that one.

Speaker 4:
[72:24] And now, you know, Bad Bunny out.

Speaker 1:
[72:28] Definitely, you gonna go Bad Bunny with that.

Speaker 2:
[72:30] Okay, let's go, say we got a whole African crowd. Shout out to all my Africans. Say we got an African crowd.

Speaker 4:
[72:36] What you gonna with? Probably gonna go with the Soca Jump, Whoopie. Yeah, she's gonna shake.

Speaker 2:
[72:48] What about Jamaican?

Speaker 4:
[72:50] Jamaican, just about anything Jamaican.

Speaker 5:
[72:55] That's a good answer.

Speaker 2:
[72:57] No, cause that's the mind. I'm just saying that's-

Speaker 5:
[73:00] I'm just saying. I play anything Jamaican.

Speaker 2:
[73:02] That's just how I shake. No, I'm just saying, just the mindset of a DJ, that's why I think y'all job is kind of harder than a rapper.

Speaker 4:
[73:11] Of course it is.

Speaker 2:
[73:12] That's how I feel.

Speaker 4:
[73:12] You get up there, a rapper, well, I'm not gonna say you.

Speaker 5:
[73:15] A rapper can get up-

Speaker 2:
[73:18] Y'all gotta let me talk.

Speaker 5:
[73:18] Your job is very hard. Your job is very hard, brother. It's harder than the singers too.

Speaker 2:
[73:22] No, no, no. I'm gonna give you another example. If Murda, if you was to say, yo, Yayo, we got a DJ in Boston, right? Let me talk now. Don't cut me off.

Speaker 1:
[73:33] Nobody cut you off, brother.

Speaker 2:
[73:35] Let me talk.

Speaker 1:
[73:36] Yo, he love your kid. For the record, he loves saying, let me talk.

Speaker 2:
[73:38] For me-

Speaker 1:
[73:38] That's like his slogan.

Speaker 2:
[73:41] I used to DJ. I'm a rapper and I used to DJ. So, if you tell me, if they say, yo, it's an old white crowd, Caucasian, and we go to Boston. Don't say nothing to Murda, Kid Capri. What record would you play?

Speaker 1:
[73:55] In Boston, the old white record?

Speaker 2:
[73:56] Yeah.

Speaker 1:
[73:57] I might throw some Post Malone on or something like that.

Speaker 2:
[73:59] Wrong. And I'll shout to Post Malone. You know what I would play? You know what Killer Crown?

Speaker 1:
[74:05] What?

Speaker 2:
[74:09] Sweet Caroline.

Speaker 5:
[74:13] But you ain't gonna start with that.

Speaker 2:
[74:15] I'm starting with that.

Speaker 1:
[74:16] That's because you're not a DJ.

Speaker 3:
[74:18] So good.

Speaker 1:
[74:19] That's why your name is not DJ Tony Yayo.

Speaker 2:
[74:22] I'm not you, but that's what I'm starting.

Speaker 1:
[74:24] Thank you, Kid.

Speaker 6:
[74:24] So what you starting?

Speaker 3:
[74:26] I wouldn't start with that.

Speaker 2:
[74:28] You never heard Sweet Caroline?

Speaker 4:
[74:29] But again, there's a science. Of course, I heard Sweet Caroline. But there's a science to everything.

Speaker 2:
[74:36] You don't know nothing. I'm starting with that. I bet you I moved the crowd.

Speaker 3:
[74:39] You play Sweet Caroline.

Speaker 2:
[74:40] I bet you money I moved the crowd.

Speaker 1:
[74:43] Now when you walk in.

Speaker 2:
[74:44] I'm talking about all Caucasian crowd.

Speaker 1:
[74:46] Now when you walk in, man.

Speaker 2:
[74:47] That's my first record.

Speaker 1:
[74:48] That's what I'm going with.

Speaker 2:
[74:49] That's what my mind works.

Speaker 1:
[74:50] You better play some EDM.

Speaker 2:
[74:51] I'm gonna start DJing.

Speaker 5:
[74:52] That might not work either.

Speaker 1:
[74:55] It might, but it depends on the crowd.

Speaker 4:
[74:57] Because there's different white crowds.

Speaker 1:
[74:59] Exactly. There you go.

Speaker 4:
[75:00] You know what I'm saying?

Speaker 3:
[75:00] You got a different, so it's the same with us.

Speaker 2:
[75:02] So what would you play? What would you play?

Speaker 4:
[75:04] What would I play in a white crowd? It depends. Depends on who's in front of me.

Speaker 3:
[75:09] You gotta look at the crowd.

Speaker 4:
[75:12] I walk in, I look in, see what's going on right there. I know what to do. Jim Watch would do it all the time. I just look, see, done. Doesn't matter if it's an arena.

Speaker 2:
[75:19] You just got the eye. He just got the eye. I know what he mean. He just got the eye.

Speaker 4:
[75:22] I've been so used to doing it all my life. That shit is a second nature.

Speaker 2:
[75:27] When he go to DC, he know he gonna play some Go-Go shit.

Speaker 4:
[75:30] It's the way you play it though.

Speaker 2:
[75:32] I know.

Speaker 4:
[75:32] It's the way you play it.

Speaker 1:
[75:33] Now, Sweet Carolina, man.

Speaker 2:
[75:34] You don't even know about Go-Go in DC.

Speaker 1:
[75:36] Sweet Carolina, man.

Speaker 2:
[75:38] In Boston, shout out to Boston. Sweet Carolina. I'm not listening to Kid Capri.

Speaker 1:
[75:44] Now, this is The Real Report. I wanna know this. How's you and Funk Flex relationship these days? Y'all in a good space? Cause I remember a couple years ago with some back and forth on lines. So don't sit up and say it was never nothing, Cause there was some drama. There was some status. It was drama.

Speaker 4:
[75:58] Personally, it was never nothing.

Speaker 1:
[76:00] Okay, all right. It was more internet, radio type shit like that. Competition?

Speaker 4:
[76:05] Competition.

Speaker 1:
[76:05] Okay, there you go.

Speaker 4:
[76:06] That's all it was.

Speaker 1:
[76:07] I just wanted to know, cause I never spoke to you about it.

Speaker 4:
[76:09] The more knowledge, the more Flex cool today is all good.

Speaker 1:
[76:11] Okay, gotcha.

Speaker 4:
[76:11] But after time Flex was, he needed a little tap on his hand for a minute. Cause he was, he was, he's Flex. Like, he says what he says, he does what he does. You know, where, you know, you step in my arena, it, you know, goes the way it goes.

Speaker 3:
[76:30] And it was all dope, though, but that's my dog.

Speaker 1:
[76:32] Did you hear that?

Speaker 5:
[76:32] Did you hear what he said, man?

Speaker 2:
[76:34] You step in my arena.

Speaker 1:
[76:36] That's how anybody supposed to feel. Like, you know what I mean?

Speaker 2:
[76:38] I'm just saying the way he said it. That's like cocky shit. I like it.

Speaker 5:
[76:42] Yeah.

Speaker 2:
[76:45] I would love to see DJ Battles. The game got soft.

Speaker 5:
[76:49] You know what's crazy?

Speaker 1:
[76:51] How would a DJ battle? I was interested in that.

Speaker 2:
[76:52] I would love to see DJ Battles.

Speaker 1:
[76:53] How would a DJ battle? The instance, right? Like you and the Flex having y'all little, y'all going back and forth for a minute, right? Now, how would y'all settle something like that? Like, I'm not... How would a DJ battle? And how would you come up with a winner with that, Kid Capri?

Speaker 4:
[77:11] Whoever shook the crowd the best.

Speaker 2:
[77:13] There you go. What do you mean?

Speaker 1:
[77:14] Has that been done before with the DJs like that? A DJ battle?

Speaker 2:
[77:18] That's where it comes from, where the hip-hop come from. Let me murder. This is The Real Report.

Speaker 1:
[77:21] I'm talking about it being done recently.

Speaker 5:
[77:24] DJ battle?

Speaker 1:
[77:25] It ain't been done in a long time.

Speaker 3:
[77:26] Recently, yeah. You got DMCs every year. You got...

Speaker 5:
[77:29] It's DJ battles.

Speaker 2:
[77:30] All I'm saying is...

Speaker 1:
[77:31] You talking about knowing. He's telling you what happens every year.

Speaker 4:
[77:33] But you talking about a battle that me and Flex would have did. Me and Flex, if it was me and Flex or anybody that do what I do...

Speaker 1:
[77:39] How would that... How that could have got set up?

Speaker 4:
[77:42] I would have did it an hour.

Speaker 1:
[77:43] Okay.

Speaker 4:
[77:44] And that would have been the battle.

Speaker 1:
[77:45] All right, got you.

Speaker 4:
[77:46] You're saying whatever time it would have set and what you get in that hour.

Speaker 2:
[77:49] No, what I'm saying is this, right? That's like how niggas don't got to slam dunk contests. No stars do it. If you had DJ battles like a Flex versus Kid Capri, nigga, not on...

Speaker 1:
[78:00] That would be crazy.

Speaker 2:
[78:01] Look, not on the verses though, but like back in the days, like in the club, like the tunnels, like in the tunnel, if you caught Kid Capri had a set and Flex had a set. That's classic shit.

Speaker 3:
[78:13] But see, that's what I'm saying.

Speaker 2:
[78:14] No, I'm saying...

Speaker 4:
[78:15] I'd rather that. I don't...

Speaker 2:
[78:18] that's what it was about.

Speaker 4:
[78:19] I didn't want that.

Speaker 5:
[78:21] Listen, that's what it was about.

Speaker 4:
[78:22] Listen, I didn't want that with me and Flex.

Speaker 5:
[78:25] Okay.

Speaker 4:
[78:25] Let's get that straight. You know what I'm saying? I don't get... I don't look for the wow factor by knocking another man down. You know what I'm saying? So I don't pause.

Speaker 1:
[78:35] Yeah, like, yeah.

Speaker 4:
[78:36] Pause.

Speaker 1:
[78:36] Got to knock him. Yeah, that was a little crazy. Right.

Speaker 4:
[78:38] That was a little crazy.

Speaker 1:
[78:39] Yeah.

Speaker 4:
[78:40] But what I'm saying is, you know, I don't get nothing from that. So I, you know, but it was necessary because of what was going on. And the shit was funny, too, because I was putting up a lot of funny shit, you know, and, you know, it became what it became. But he have said things to a lot of people that never say anything back, you know what I'm saying? And this time, something was said back in a way that was a little stronger than he probably thought it was going to be. But it didn't need to go no further than that. And like I said, it wasn't personal. If he would have called me right in the middle of all that shit going on and said, kid, I need you for something, I would have been right there.

Speaker 1:
[79:18] Got you. And it's probably vice versa with him.

Speaker 4:
[79:21] Yeah, it's all good.

Speaker 2:
[79:22] See, for me, guys, this is how I look at it. It's all about, like I said, you would love to see Kid Capri, and not be for nothing, but Flex in a club together and whoever had the best set. To me, it's always been about the best set. Like you be in a party in Southside.

Speaker 4:
[79:39] See, I don't like that, though.

Speaker 2:
[79:41] Hold on. All right, let me finish.

Speaker 1:
[79:43] But why you don't like that?

Speaker 4:
[79:44] I don't like that, because that's the same shit as the Kendrick and the Drake beef. It doesn't become about skill. It become about knocking the one that lost down. It becomes about shooting at the one that lost down. Like it becomes that. It don't become about he was dope, he won, done. It becomes some other shit. And then with this internet shit, it magnifies it to a whole nother level. So that's why when you heard Jay the other day say he didn't think battling should be involved with anything. And nowadays, that's what he meant. Not that this is based on battle. We battled, this is what it is. But when it comes to knocking down careers and knocking down and making another narrative, motherfuckers get shot at and all that, now it becomes something different.

Speaker 1:
[80:30] I mean, people been getting shot at.

Speaker 5:
[80:31] Yo, Kid Capri, people are getting shot at. Y'all tripping, y'all tripping.

Speaker 1:
[80:36] That been a part of it.

Speaker 2:
[80:37] Yo, Kid Capri, this is all, listen.

Speaker 1:
[80:39] You gotta have tough skin with this.

Speaker 2:
[80:40] Listen, Kasey's KRS1 and MC, listen, Kid Capri.

Speaker 3:
[80:44] But not unnecessary.

Speaker 2:
[80:46] Y'all tripping.

Speaker 1:
[80:47] Everybody got to comment with the internet.

Speaker 2:
[80:49] Since KRS1 and MC Shanbeef, we know hip hop was always about competition, bro. Like, it ain't nothing negative. I know sometimes it might go, let me talk. Look, but like even 50 Cent, we from Queens. Come on, y'all motherfuckers got shout outs on all that shit. That, KI. Rest said, and Queens keep on faking it. we were still listening to that shit.

Speaker 1:
[81:16] Like, but you know what?

Speaker 5:
[81:18] Yeah.

Speaker 2:
[81:19] Bronx keep creating that, we can keep on taking it, and Queens keep on faking it. Yeah, it's like what?

Speaker 5:
[81:24] But it stayed there.

Speaker 2:
[81:25] Listen, but look, the beat was so hard, and what he was saying was so crazy. Niggas had to respect it. MC shit and beef. We liked it. Nas and fucking Jay. Don't act like you didn't like that beat.

Speaker 4:
[81:38] Shit was incredible.

Speaker 3:
[81:39] But that's what I'm talking about. Yayo, no, no, no, no, you ain't gonna do that. Nah, that, you ain't doing that.

Speaker 5:
[81:45] Tell them, kid. That's not what I said.

Speaker 4:
[81:47] What I said was, I'm not talking about that. I'm talking about when it turns from, y'all, for battle being two dope to people getting shot at because one don't like the other one. Because the crowd, the same thing, they shooting that Drake at his fucking crib because, and they're Kendrick fans.

Speaker 3:
[82:08] Because they're Kendrick fans.

Speaker 4:
[82:09] When it becomes that, that's something different.

Speaker 1:
[82:12] Yeah, we don't want to stupid sit like that.

Speaker 4:
[82:14] That's what I'm talking about.

Speaker 3:
[82:16] So yeah, of course you want battle.

Speaker 4:
[82:18] It keeps your sharp, it keeps your edge sharp.

Speaker 3:
[82:20] Like, yeah, hell yeah, I'm nice. I think I'm the best in the world.

Speaker 1:
[82:24] This is what it is. It's exciting for hip hop.

Speaker 5:
[82:26] It's exciting, it's beautiful.

Speaker 3:
[82:27] If it stays where it's supposed to stay.

Speaker 4:
[82:30] Like Jay and Nas did. They did a battle, next thing you know, you're doing business with-

Speaker 2:
[82:35] Bullshit, bullshit, bullshit.

Speaker 3:
[82:38] How's that bullshit?

Speaker 4:
[82:39] That's not what happened.

Speaker 2:
[82:39] Nas talked about the baby seat, not, the baby seat shit with Nas' daughter. what are you talking about?

Speaker 4:
[82:46] What are you talking about?

Speaker 2:
[82:47] Jay said in the battle, nothing should ever go too far, right? That's what he said in the shit, right? When we look at the, in his song, what did he say?

Speaker 3:
[82:55] It's not about what he said. I done it on the baby seat, It's not about, Jay-Yo, you're not paying attention. You can't say, no, you're not paying attention. They're gonna show this on the camera. Show it, expect, you can't say, yo. It's not about what he say, it's about the end result.

Speaker 4:
[83:12] It was a battle, regardless of what he said, they ended up doing business afterwards. Not nobody shooting at each other.

Speaker 1:
[83:20] Okay, I understand that.

Speaker 6:
[83:21] Hold on, hold on, let me rebut that. Let me rebut it.

Speaker 1:
[83:24] Hold on, hold on, hold on.

Speaker 6:
[83:26] No, no, no, no, no, no, no, no, no.

Speaker 3:
[83:29] you, no, no, no, no.

Speaker 6:
[83:30] No, you, no, you, no, no, you, you. Listen, hold on, pause, pause, pause.

Speaker 3:
[83:37] A whole bunch of pauses.

Speaker 2:
[83:39] A whole bunch of pauses.

Speaker 6:
[83:40] Hold up, pause, pause, super pauses. Another pause again, but get your point across. Pause, it was too many pause cues right there.

Speaker 2:
[83:47] Pause. What I'm saying to you is, listen, Jay said, listen, Jay said, no, because I hate one of my, I'm keeping real. Jay said in the interview, right?

Speaker 1:
[83:57] Get your point across, watch it again.

Speaker 2:
[83:58] Jay said in the interview that battle rap goes too far, right? In the him and Nas battle, did he refer to being in his baby mom's car and coming on the, excuse me, YouTube, mute that, something on the car seat? Didn't he say that in that battle?

Speaker 5:
[84:16] Okay.

Speaker 1:
[84:17] Now listen, hold up. That went too far. Now listen, now let me say something.

Speaker 5:
[84:20] And he go far enough for somebody to shout at. Kid Capri.

Speaker 1:
[84:23] One thing I gotta say, yo, one thing I gotta say is.

Speaker 5:
[84:26] Yo, you better.

Speaker 1:
[84:27] He's drunk, no, he a little, but I gotta give my brother, I gotta give my brother, I gotta give him his props on that. You know what though? I gotta give him his props on that because, because when you do say, when you do say, battle lines, some things go too far, right? Between him and Nas, that was a little too far. That was too far for Jay. I'm not gonna front, when you think about it, it was, it could have went to the next level. We lived that shit. It didn't, right? It didn't. But behind saying something like that, it could have went to the next level.

Speaker 4:
[84:55] Do you know how much personal shit real battle rappers say to each other?

Speaker 1:
[85:02] We not talking about them battle rappers though right now.

Speaker 5:
[85:05] We ain't talking about the bad, no, no, no, no, no, no.

Speaker 1:
[85:09] Because bad rappers is there, they in front of each other, they saying certain things, they prepare for that, right?

Speaker 6:
[85:14] Y'all supplied the war!

Speaker 2:
[85:16] DJs, y'all supplied the weapons for the beat.

Speaker 1:
[85:17] We're not talking about that, we're talking about battle. We talking about like, when rappers go out, that you wanna see certain shit. Like you wanna see-

Speaker 3:
[85:23] You supplied the weapons!

Speaker 1:
[85:25] You wanna see Drake, you wanna see Drake versus Kendrick, right? But people did feel like when the, like the little pedophile things, like, all right, that was going too far. When Drake start talking about the- We ain't talking about Eminem and his girl and the kids and shit like that and baby might not be in his. People feel like, all right, now the battle is getting a little like, oh, they're going a little left with it. Right. But to criticize that, to say that, all I'm saying from what he was saying, right, for Jay to say when certain things are going too far and then you mention some like kids and coming on baby seat, that was far and things could have went left. And we had social media back then, right? Back then when Jay said that, if social media was alive back then, that shit could have went crazy. It could have went crazy. But of course, Jay matured now when he get it and he realized now, damn certain things you say, it could fuck up, you know what I'm saying? Because a matured now when he get it, damn certain things shouldn't have been said back then. You know what I'm saying? But when you young one to come up, you don't understand that. Or when you in the heat of the battle, you don't really give a fuck what you about to say. All you know is I'm about to destroy this nigga, I don't give a fuck how I destroy him. I'm gonna destroy him. It's battle, it's beef, I'm gonna destroy this nigga. But social media make it feel like nowadays because everybody gonna have an opinion. Everybody gonna comment on something. Now people feel like they gotta hold their tongue or bite their tongue or you can't say something now. But nah, this shit was built off that. Like really?

Speaker 6:
[86:44] Hip hop was built off that shit, If it's beef, if it's beef, if it's drama, you gonna disrespect a to his teeth.

Speaker 2:
[86:51] The DJs are the arms dealers in the war. Because once that Machiavelli shit come up, boom with all that Machiavelli, y'all gonna play that shit. Who shot you, you gonna play, y'all gonna play that shit. Drake shit come out, y'all gonna play that shit. You can't be biased, DJ. Y'all are the arms dealers.

Speaker 3:
[87:08] I ain't biased, don't give a shit about that. I'm talking about nobody getting up.

Speaker 2:
[87:11] You keep talking about battle rap, that's why I get confused. Shout to battle rapper.

Speaker 1:
[87:16] I know what Kid was trying to say.

Speaker 3:
[87:17] Thank you.

Speaker 1:
[87:18] I know what Kid was trying to say. He was trying to say battle rappers say the most disrespectful shit to each other. But I don't know, it's different with the battle rappers and the rappers.

Speaker 6:
[87:26] That's what they get paid to do.

Speaker 1:
[87:28] It's a difference. How? It's a difference because it's a whole, I don't know, I feel like it's just two different worlds.

Speaker 4:
[87:34] You talk about my moms, I'm going to punch you in your shit. You talk about my moms in the battle, I'm going to punch you in your shit. You talk about my moms on the record, I'm going to punch you in your shit. They're no different.

Speaker 1:
[87:43] But the battle rappers is built different for that because I guess they're used to that. They're used to standing up in front of each other and disrespecting each other, saying the most.

Speaker 4:
[87:52] They used to.

Speaker 3:
[87:53] We'll watch a fishing battle.

Speaker 2:
[87:54] But let's keep it real. Let me ask both of y'all a question, and I'm going to ask y'all a question too, right? We'll watch the Biggie and Tupac beef, right? They was on Vibe magazine, Billboard magazine. Some of the biggest publications you've seen in your life was East Coast, West Coast, and you probably met Biggie and Pac, am I correct? Of course. Do you go, right? That was the biggest shit you've seen. East Coast, West Coast. You know, Shook Knight at Def-Reel. We don't do the dancing. We don't do the singing.

Speaker 5:
[88:23] None of that.

Speaker 2:
[88:24] Niggas fed into. Now, let me talk to you about it. Every, the industry feeds into all of that since way back then. East Coast, West Coast. It just wasn't on the Internet. It was more the magazines and all that shit. East Coast, West Coast. We knew it was a beef, right? When Biggie came with Houshacha and 50 Cent, I mean, and Tupac came with Machiavelli. We loved that shit. The industry feed into it. The DJs play it. Y'all scratching the shit out of a diss record. Wanksta, Wanksta. Y'all was just playing Ja Rule, but now you're playing 50. Wanksta. You're just playing Tupac. Now you're playing Biggie. Y'all are the arms dealers. And then when somebody gets shot, is like, yo peace, man. Yo, y'all are the that was spinning the shit.

Speaker 6:
[89:11] Look, Billboard, Vogue magazine. What you got to say about that?

Speaker 1:
[89:15] Y'all DJ be playing this shit.

Speaker 2:
[89:16] That's what make the industry horny.

Speaker 6:
[89:18] Vogue magazine, I love all of y'all, but come on.

Speaker 2:
[89:23] Y'all amped all the beef. Y'all love the East Coast, West Coast beef. Everybody made money. DJ, radio stations, magazines. Everybody made money. Cool J, Versace made money. Everybody made money off the Biggie Tupac beef. And y'all niggas love that shit, Get out of here, bro. The industry built that shit up to destroy it and just be like, oh my God, somebody got shot. Y'all amped it up. Y'all played the shit out of Kendrick record.

Speaker 3:
[89:51] No disrespect to him or Joe.

Speaker 2:
[89:54] Once things start shooting, we got to keep it peaceful. That's why I don't fuck with the industry.

Speaker 3:
[90:03] Listen, I'm the that big can't you. You can't cancel somebody that 50.

Speaker 5:
[90:08] I couldn't work on Ray Carpenter.

Speaker 2:
[90:10] Ask 50, they banned me from Ray Carpenter. So I've been canceled. I don't care. You can't cancel me. But the industry is full of shit. Y'all amped shit up. DJ scratching the shit out.

Speaker 5:
[90:18] Duh, duh, duh.

Speaker 2:
[90:24] Flex all y'all.

Speaker 5:
[90:25] Duh, duh, duh, duh, duh, duh.

Speaker 2:
[90:27] Once bullets start flying, we got to keep the peace, man. That's one of the worst in the industry. Fuck out of here.

Speaker 5:
[90:32] Hey, man.

Speaker 3:
[90:34] out of here.

Speaker 5:
[90:36] it. Kill your selves.

Speaker 3:
[90:38] I don't give a.

Speaker 5:
[90:39] Do it.

Speaker 3:
[90:39] Kid Capri, Kid was trying. Kid was trying. He was trying, but he said it.

Speaker 2:
[90:44] That's why the battle rappers are the only ones that could disrespect. Get out of here, man. You crazy.

Speaker 3:
[90:48] Are you crazy, Kid?

Speaker 5:
[90:50] I didn't say that.

Speaker 2:
[90:51] You said they're the most disrespectful.

Speaker 4:
[90:53] They're the most disrespectful to each other.

Speaker 5:
[90:54] They get paid to do that to each other.

Speaker 2:
[90:56] But they know how to... They're the best at that.

Speaker 5:
[90:59] And nobody gets killed. Nobody gets shot.

Speaker 2:
[91:01] What? be getting beat up, shot, oh, pistol whip.

Speaker 3:
[91:04] Oh, you bugging. get beat up that don't know what they doing. Stupid.

Speaker 4:
[91:07] I'm talking about the real battle rappers, the real ones, the real top tierers. They say some of the most craziest shit.

Speaker 3:
[91:14] And after the battle is over, they go on a drink.

Speaker 2:
[91:16] Nah, got shot. You bugging.

Speaker 4:
[91:18] Who got shot?

Speaker 2:
[91:19] Mad got shot. We can look it up. We'll find it.

Speaker 5:
[91:22] Shout out to Pistol Whip, shout out to Battle Raps.

Speaker 2:
[91:27] Remember Malfoy punching back in the days.

Speaker 3:
[91:29] What you talking about?

Speaker 2:
[91:31] It was mad shit, magazine slapped with guns, all kinds of shit. They be saying it in the raps later on. You got to check it out, Kid Capri. You got to do your homework.

Speaker 1:
[91:38] You said they be saying it in the raps later on, yeah?

Speaker 2:
[91:40] Yeah, yo, we got Pistol Whip and Rob. be saying that shit.

Speaker 5:
[91:46] They be saying, it really happened.

Speaker 2:
[91:48] You think gangsta shit don't happen in battle raps?

Speaker 5:
[91:51] Tell Tony Battle Rappers.

Speaker 2:
[91:53] We don't have him on this show.

Speaker 5:
[91:54] He act like it's Kumbaya over there, Let's see if there are more gangsta over there.

Speaker 2:
[92:00] What's my man that just got out of Jersey?

Speaker 1:
[92:04] Oh, T-Serve. T-Serve.

Speaker 2:
[92:06] Sous-Serve. Sous-Serve. Sous-Serve, he out.

Speaker 6:
[92:08] Come on, man.

Speaker 2:
[92:10] That just get out the feds.

Speaker 1:
[92:11] Feds.

Speaker 2:
[92:12] That was in the feds, walking the yard. You know his paperwork was correct, He was a battle rapper.

Speaker 1:
[92:19] Yeah.

Speaker 2:
[92:19] He got shot and all that, like 50 and walking the yard up top.

Speaker 3:
[92:23] Pull-off, I mean, there's exceptions.

Speaker 2:
[92:24] You talk him out like it's Kumbaya over there.

Speaker 3:
[92:27] I ain't talking about Kumbaya, I'm just saying.

Speaker 5:
[92:29] Battle rapper is Kumbaya. Like I said.

Speaker 1:
[92:32] I didn't say that.

Speaker 5:
[92:33] I didn't say that.

Speaker 2:
[92:35] Nobody get killed.

Speaker 3:
[92:36] Yes, they are, Y'all kill y'allself, dude.

Speaker 2:
[92:40] it.

Speaker 5:
[92:40] What can I tell you?

Speaker 1:
[92:41] Y'all can't smoke it.

Speaker 3:
[92:43] Y'all the did, did, did, did.

Speaker 2:
[92:45] You flex everybody. When we was dissing Ja Rule, Flex was dropping bombs, Boom, boom.

Speaker 5:
[92:51] Yeah, Flex, yeah.

Speaker 2:
[92:54] Y'all love that shit. Shut up with that shit, kid. I know you love that shit. You moved the crowd, You came up with all that shit. You was in the shit in the 80s when niggas was getting shot and taking the bullets out they self back then, in the club in the Bronx.

Speaker 1:
[93:10] You know what I'm talking about, Kid was taking the bullets. The 80s, Kid was not around nobody getting shot taking the bullet out the arm, man.

Speaker 2:
[93:18] He was in the castle in the fever. Real was in that shit. Oh, it wasn't the fever, the castle, my boy. But the castle, I thought the fever, too. Somebody give me the wrong information. You never did the tunnel?

Speaker 1:
[93:29] He said Kid was in there when getting shot and they took the bullet out of theyself.

Speaker 2:
[93:33] he was in the Bronx in the castle, were in the 80s. was kidnapping back then, You know what I was, hell, you had to be a DJ back then? A whole lot.

Speaker 4:
[93:43] Kingston era.

Speaker 1:
[93:45] A whole lot, man.

Speaker 4:
[93:46] A whole lot.

Speaker 1:
[93:46] Kid been doing a whole lot. He started a record label, all type of shit, man.

Speaker 4:
[93:50] All college shit.

Speaker 1:
[93:51] How did that record label come about, Kid? How did your new record label come about, man?

Speaker 4:
[93:55] Making records, man. Doing my own shit, doing my own shit. Ain't got to answer nobody.

Speaker 1:
[94:00] That's right, man.

Speaker 4:
[94:00] That's what I do, man.

Speaker 1:
[94:01] That's right, that's right.

Speaker 4:
[94:02] I'm saying like in 2023, I caught cancer and shit.

Speaker 1:
[94:08] Yeah, I knew about that, man. How was that whole experience, man? God is definitely good, man. You hear what I'm saying?

Speaker 4:
[94:15] Yeah, I had thyroid cancer. I take thyroid out. And so in 2023, ain't nobody knew. I had to do all this stuff. I brought Derrick G out, Yankee Stadium. I hosted the BET Awards. I did a lot of shit. And then when I got rid of it, that's when I told everybody about it. Since then, I started a business, Herbal Reset Plus, where I sell natural herbs. From Soursop to Sarsaparilla, me and my man, Ramy, got together and started a business. And we sell everything from Chaney root to Maca root.

Speaker 2:
[94:49] We can find it somewhere online.

Speaker 4:
[94:51] herbalresetplus.com, got it all there.

Speaker 3:
[94:53] I love that Chaney.

Speaker 4:
[94:54] I love your bodies, man, because they're not going to tell you what's right for you. They're going to make you keep paying that money, as long as they keep making you pay that money. But if you go and you take initiative and go see what's going on, start doing the right thing. Keep in mind, a few months ago, maybe seven months ago, I was 267 pounds. I lost 60 pounds in two and a half months.

Speaker 1:
[95:14] Congratulations on my brother. Congratulations, man, congratulations.

Speaker 4:
[95:17] So I've been on my health shit since that incident.

Speaker 1:
[95:20] You know what I'm saying? How did you deal with that, like mentally and spiritually?

Speaker 4:
[95:23] That's what I'm saying. Like dealing with that.

Speaker 2:
[95:25] You gotta be careful, kid.

Speaker 4:
[95:27] You gotta put that shit in the back of your head, Murda, because doing all the work I was doing, if you're worried about that, you won't be able to work.

Speaker 1:
[95:35] You know what I'm saying?

Speaker 4:
[95:35] And then the worrying part is what makes you sicker, right? So I put it in the back of my head. The main thing was go to all the appointments, do everything I was supposed to do on time. And when I got rid of it, the doctor had said to me, kid, I'm glad that you, he was like, I want to congratulate you. He was like, you'd be surprised how many people were canceled and come back three months later, four months later, they that much further. Now we gotta work that much harder to get them right. Some people we can't even get right because they stayed too long. So you did all your appointments, you made everything. So me doing that and getting right, and when God blessed me to be good. God is good, man. That's what I say, you know, I'ma just do sit different. So I eat different. I got a whole different lifestyle of how I do shit. So that's what kind of inspired the herb business. And Montel Jordan, as a matter of fact, you know, he had cancer.

Speaker 1:
[96:25] He had cancer too.

Speaker 4:
[96:25] He just got rid of his cancer. He was buying my herbs from us.

Speaker 1:
[96:28] Oh, look at that.

Speaker 4:
[96:28] Right, so it was kind of helped him along the way.

Speaker 2:
[96:31] Be careful with that though, kid. You know, once you start doing that shit, come hit me.

Speaker 4:
[96:36] Amen, come see me.

Speaker 2:
[96:36] Corporations, come hit you with the choo-choo.

Speaker 5:
[96:39] Come and see me.

Speaker 2:
[96:40] Word, Dr. Sebi, all that shit. What you think is going to be like, yo, I'm doing something with Dr. Sebi. Don't do anything. Shout to that, and they in Houston. I fuck with their shit. You just gotta be careful with that shit.

Speaker 4:
[96:50] On the net, on the net. I don't think so.

Speaker 2:
[96:53] you don't see it. Yo, bro, you don't see what's going on. You ain't see all of them.

Speaker 5:
[96:57] I see everything that's going on.

Speaker 2:
[96:58] Listen, so look, y'all ain't see how all these nuclear scientists got smoked, like all these, the astronaut.

Speaker 4:
[97:05] Why you putting this shit out there?

Speaker 2:
[97:07] I don't give a fuck. can smoke meat. Damn.

Speaker 5:
[97:10] God damn.

Speaker 2:
[97:12] But all these nuclear scientists, oh, you don't want to talk, you was talking about healing niggas.

Speaker 5:
[97:16] they gon hit you. Yeah, you talking about dying.

Speaker 3:
[97:19] I'm trying to heal, you trying to kill them.

Speaker 2:
[97:21] Yeah, we talking healing. No, I'm talking about, look, there was a whole bunch of scientists that got hit like mysteriously like dying and missing. Like, so once start talking about healing, I got the herbs, don't go to these companies.

Speaker 5:
[97:31] Man, fuck that.

Speaker 1:
[97:34] herbalresetplus.com, go get the herbs.

Speaker 5:
[97:36] Dr. Rude, Shady Rude.

Speaker 1:
[97:38] That's right.

Speaker 3:
[97:40] You know, Sarsaparilla, Soursop.

Speaker 1:
[97:43] That's right.

Speaker 5:
[97:44] Da da da da da da.

Speaker 2:
[97:45] I'll with King.

Speaker 5:
[97:46] Go get your shit healthy.

Speaker 1:
[97:47] All that good stuff, man. All that good stuff, man.

Speaker 2:
[97:49] Yo, we got the world's greatest DJ here. Make sure y'all like, share and subscribe. I know this is one of the fucking crazy episodes. We talked about the most legendary shit in hip hop. It's The Real Report signing out with my nigga Turbulence. No, I'm Turbulence Tony.

Speaker 1:
[98:03] You Turbulence Tony. You been drinking too much of that Branson.

Speaker 6:
[98:06] You been drinking too much of that Branson.

Speaker 2:
[98:07] Shout to 50 and the Branson, boys. Go ahead, sign out.

Speaker 5:
[98:11] This is your boy, Lil J and Lenny.

Speaker 1:
[98:13] We got Kid Capri in the building, the legendary Kid Capri.

Speaker 4:
[98:16] Yo, take your ass to that YouTube and watch those videos I got up there. Don't play yourself. Kid Capri 101 on Instagram and Twitter.

Speaker 2:
[98:23] Oh, yo. That's right. Hold on. We forgot about his daughter music too. Talk about that too. Vena Love.

Speaker 5:
[98:27] Vena Love shaking.

Speaker 4:
[98:28] Vena Love is doing her thing. Make sure you go to her page and look at all her shit. She is rocking crazy.

Speaker 2:
[98:34] Matter of fact, that's her Auditor of the Week. We sign her fucking out.

Speaker 1:
[98:38] Hold up. And my boy also got inducted to the Bronx Walk of Fame.

Speaker 2:
[98:42] Oh, shit. Shout to the B.I.G.s.

Speaker 1:
[98:44] I heard the Bronx Walk of Fame, my boy.

Speaker 2:
[98:46] Bronx created the front, the Bronx created the game. Walk of Fame. Bronx created the game.

Speaker 3:
[98:51] Walk of Fame.

Speaker 1:
[98:58] Good luck surviving the off-season, football fans.

Speaker 6:
[99:20] Offered by the Seminole Tribe of Florida, it must be 21 plus and physically present in Florida to wait. Your terms and conditions apply.

Speaker 5:
[99:24] If you or someone you know has a gambling problem, Please call 1-833-PLAYWISE.