The Real Report - Kid Capri on battling Funk Flex, touring with Biggie & R.Kelly, DJs being undervalued, & working with Kendrick Lamar

11:24Tony Yayo:I mean, you come from classic eras of music, hip hop, the culture. I mean, you know, to me, the 80s and the 90s was like... 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.

11:39Uncle Murda:Look, talking about that, right, kid, look, all the eras that you've been in from this hip hop shit, 80s, 90s, 2000s, what album you feel like you could play with no skips, like classic album, no skips? I would be in Rock Kim, Paid in Full. Slick Rick, Great Adventures, 50 Cent, Get Rich or Die Trying. Low End Theory, Tribe Called Quest. So many of them. You know what I'm saying? Okay. You know, like go on and on. So, you know, but what happens is -

12:11Tony Yayo:Whatever you think is the best between the 80s, 90s, and the 2000s. That's the fucking question. Well, the 90s ain't nothing gonna be like the 90s. Nothing's gonna be like the 90s. Over the 80s? Rock Kim, Big Daddy Kim? No, no, no. I'm not talking about as far as rap. I'm talking about as far as the way hip-hop went. You think so? It became bigger, but as far as the beginning of it, nothing's going to beat that. You're not going to beat... Matter of fact, even with records that came out, you ain't going to beat the beginning. You're not going to beat the tapes of Cold Crush and Fantastic and Furious 5 when there was no rap records.

12:47When 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. Copy. 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.

13:16Of course, they started the game. I always pay homage. Yeah, you know what I'm saying? So you look at dudes like, dudes like Melly Mel, dudes like, you know what I'm saying? Just great MCs that, you know, that really put it down. You know, they deserve to be put on a pedestal.

13:30Tony Yayo:Nah, the Bronx started the game, but, you know, Queens ran the game. You know what I'm saying? And Brooklyn.

13:36Uncle Murda:Okay, you ain't gonna get that. And Brooklyn took it. And Brooklyn took it. Shout to Russell Simmons. And Brooklyn took it. Shout to run DMC. You know what I'm saying? You know what I'm saying?

13:46Tony Yayo:I'm on my cocky shit. No doubt. Okay, go, go, go, go. Yeah, feelin' good. Let him talk, let him talk. Let him go, let him talk.

13:54Uncle Murda:Now, on another note, right, RMK Capri, who's your top five? I don't have no top five. Oh shit, for real? Nah. Why you say that? Because what are you talkin' about? You talkin' about top five rappers? You talkin' about top five fashion? Top five record sellers? What are you talkin' about? You talkin' about top five rappers, ain't nobody beatin' battle rappers, if you ask me. You know what I'm sayin'? 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. How do you say that?

14:23Uncle Murda:Battle Rappers, you had rappers that was doing that thing before Battle Rappers. That sounds a little crazy. I'm not talking about them. I'm talking about when they are there is right now, a lot of rappers that was rapping a certain way, they listen to Battle Rappers and now they rapping that way. And that's the truth. You know what I'm saying? We ain't gonna sugar it for anyone. And he got a lot of technique from what Battle Rappers is doing is just that battle rappers always had a stigma that they couldn't make good records. You know what I'm saying? So that's why they wasn't really successful in making music.

14:50Tony Yayo:Rob Markman - What battle rappers when in the 80s? What year we talking about? Rob Markman - We talking about right now. Rob Markman - He talking about how the music is. Rob Markman - Right. You know what I'm saying? And 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 rappers get on. Rob Markman - This is before the battle rapper thing blew up. I was trying to help them get on. This was 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 going to do this deal with HBO and this and then.

15:16So I made this album called Top Tier that I never put out, but shit is incredible. You never put it out. Never put it out. You know what I think about? You know what I think about? I'm glad we're talking about battle rap, because you know what I think about battle

15:26Tony Yayo:rap? I think, because I'm a fan of Loaded Lux, Murder Moog, 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 murdered Moop and these guys were starting to make money, I think, and Smack was making all the money. They 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 they was making so much money, like to a point where they was making more than rappers.

16:06Tony Yayo:So what you saying is valid, because they would say now for low deluxe murder mook battle, I need 40 ,000. Rob Markman - Yeah. Rob Markman - Like numbers started getting like - Rob Markman - Yeah, they started doing crap things and all that. Rob Markman - Ridiculous for 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 won 20, we won 30, we won 15. Rob Markman - They just want their money. They bringing it - Rob Markman - No, I'm not saying not, but then it was just less battles.

16:32Tony Yayo:Rob Markman - Yeah. Rob Markman - And then you wasn't seeing it on YouTube, because 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.

16:44Uncle Murda:But back to Kid Capri. Let's get back to Kid Capri. He got into his battle rap. I love the battle. We gonna have some battle rappers up here. Of course. But to go back to your question, you just asked me who the top fives are. 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. Rob Markman, 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?

17:14Tony Yayo:Rob Markman, He is in my top five. Hold on. Rob Markman, He's in mine too, but why isn't he in everybody's top five? Rob Markman, But you - Rob Markman, Right? So that's what I'm saying. It's all subjective. Rob Markman, Nah, I can't agree with you, bro. Rob Markman, You may - Rob Markman, You gotta let the brother talk. Rob Markman, You may like your five. Rob Markman, Nah, I know, but now he's bugging. He can't give me - Rob Markman, So you mean to tell me, no, cause he's stripping. I'm going to tell you why it's the real report. Nah, it's the real point. If you tell me in the 80s who's my top five, we going to have, and there's no order, we going to have Big Daddy Kane on the list.

17:45That's in the 80s, that's ever. That's what I'm saying. But I could do 80s, 90s. I could do 80s, 90s, 2000s. But that's a different thing. When you say top five, if you say - If somebody just said, yeah, yo, who's your top five? Right, you say, who's my top five? What are you talking about? You said he don't believe in the top five. No, no. No, we got to let's put this right. That's what you said. Let's put this right. We can rewind it. And he said, I don't believe in the top five. No, I know what. You ain't got to 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?

18:13I'm thinking they say in my top five, best simpsies of all time. If you say who's the top five in the 80s, I'm going to tell you exactly who's my top five. If you say who's the top five in the 90s, I'm going to tell you, depending on what you're talking about. record sales or raps some of these motherfuckers are top 5 because of how they're dressing they're out here modeling they ain't had it in 15 years am I right they're getting viral because first of all let's do this I don't want to deal with first of all let's go here I don't want to pay for it if I'm doing a show or something I don't want to pay nobody because they fucking because they popular I want to pay because they get the job done you be popular because you tripped over a god damn rock on TikTok and now tomorrow you viral And now they hire you to come in the club and everybody's in the club watching you stand in a VIP booth like they do with some of these chicks.

19:00Uncle Murda:Yeah. Right? Nah, I'm paying for somebody that's going to get the job done. My crowd going to come. The crowd going to be happy when they pump. They pay their money and they left with their money's worth. We at different times.

19:10Tony Yayo:Edding, find the - Nah, ain't no different times. Hold on. Listen, no. Hold on. Let me give you up. Edding, Edding, hold on. Edding, Edding. Find the - Some shit got to remain the same. Find the mom that got popular on TikTok off that song. We at different times. Fonda, 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're in different times when things are different. I'm not mad at the young kid. Listen, listen. I'm not mad at the young kid that gets popular over some dumb shit. That's them. Listen, I want them to do good.

19:40They're going to make money for me good. I'm talking about as a grown man, I'm not walking around doing dumb shit to get popular. And if I'm going to work with somebody or pay somebody to come do something, I'm not going to pay them because they're popular for some dumb shit. I'm going to pay them Because they're going to get The job that I need Done done Period For whatever time it is And if you don't like that Don't come But I want part 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 And hear the song Three four times You know what I'm saying Where a lot of DJs are coming Play the pop and shit At ten o 'clock at night When nobody's there because he wants to get it on.

20:24And 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.

20:32Tony Yayo: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. You're doing this through the 80s, the 90s. Don't say that because I'm going to get a bunch of comments. He ain't the best. Well, I don't give a fuck about that. I don't read comments, brother. I ain't the best. He's the best. You the fucking best. From the castle? to the fever. Don't be modest because you a cocky motherfucker. I told you. Listen, listen, Murda, when I first met Keith Capri, my experience with him, I never left the fucking hood.

21:04Tony Yayo:50 flew me out to Cancun. He was signed to Columbia, Tony Polk in there. And what was the soundtrack for? What was the movie with LL and - The In Too Deep soundtrack. In Too Deep soundtrack. Don't say pause. It's a movie. Rob Markman, I'm gonna be behind that too. Rob Markman, it's a pause. It's a pause. Yeah, it's a pause. It's too deep. It's too deep soundtrack. It's a pause. Cool. All right, pause. It was a dope movie and I never left the hood. I went to Cancun. 50 flew me out. I was out there. And this is when I knew, King Capri is cocky. You all right? He's this cocky motherfucker, man.

21:38Uncle Murda:He's cocky.

21:39Tony Yayo:Yo, he's the best. He's the best, right? He knows he's the best. That's why I like him. But King Capri came through, right? Shane swinging. He came through the crowd. Now, mind you, this is a show like Gloria Velez. It was mad shit going on. Girls was getting eight out on stage. We could mute that or whatever. You guys can get your - It's TV, man. This is my first time leaving the hood. Girls was getting eight 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, 9-7?

22:07Uncle Murda:Shout out to Luke.

22:07Tony Yayo:Yo, Luke. And it was like Gloria Velez with there. Girls was getting eight 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. I produced Rowdy Rowdy. He produced Rowdy Rowdy. Okay. We were signing the same label in Columbia. Got you. 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 the plane. Ironically, the drug dealers that brought me out there, the movie was about them.

22:44Oh, shit. The leader was LL. That was G. Oh, from the N2 Deep movie, Pause. Right. Right. I didn't know that. And then on top of that, I produced the first record, which was Rowdy Rowdy 5th. I didn't know none of this 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 ever been on an airplane. Shout to them. Shout to all my guys in Boston. Shout to the Boston.

23:09Tony Yayo:New York niggas is Rowdy Rowdy. That's my first time. What was that, 9-7? Yeah. My first time ever leaving the hood. Drug dealer. Number one, three, four, guy bro a dirty nigga. Leaving your fifth. Thank you, 50. And you met Kid Capri. Kid Capri. Oh yeah, back to him being cocky. He came through with the chain on, chain swinging. He still got the hair now, curly hair, shit. I still got my hair, man. That shit is still popping, man. That's why niggas be mad at Kid Capri. We ain't gonna talk about it. So he came through, but he was came through in our, and this is 9-7 and he fucked up. I fucked his head up.

23:39Tony Yayo:He didn'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 niggas, man. I told him, he's too cocky, bro. King Capri is cocky. He's a legend, but he's a cocky motherfucker, bro.

23:57Uncle Murda:Have fun, man. He's not cocky. How was it?

24:00Tony Yayo:Now tell me - Don't put the wrong thing out. Now you know I'm always, you know, we got Brooklyn in the house. Brooklyn. So how was it? Because I know you did some things with Biggie. How was that?

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26:22Uncle Murda:Or just really, really need something more like this. You'll find the vacation you want in Missouri. Missouri, it's the getaway that gets... You. Plan your fun at visitmo.com. I did shows with Biggie. Yeah, that's what I want to know. Yeah, shows. I remember one show I did.

26:44Tony Yayo:I just want to hear about backstage with Biggie. 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. I was sitting there. I was like, yo, I'm proud of you. You proud of me? I said, yeah, I'm proud of you. So I'm about to tear this shit down, kid. I was like, I know. he had a purple suit on it was me, him and R. Kelly oh shit and he fucking got on stage when he walked on stage that shit just said I never heard a war like that like it was like a real like a it was like I 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, this is massive.

27:35Because 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.

27:43Tony Yayo:You did the garden with who? Who was that one? I did the garden many times, but the one time I did it was with Aaliyah, when I went on tour with Aaliyah. Yes and peace, Aaliyah. I had, 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 and Harmony, Aaliyah. Genuine and Drew Hill so every Leah 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 was right when Put Your Hands Where I Could See Just Drop 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 your hands where I can see joint.

28:33Gave me the record. I go on stage, I do this 15 minute set, shaking this motherfucker to 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 day, me and Busta talk about the wind 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 wind from the people screaming at us? It was so crazy murder. My daughter's mother, Vina Love mother, at the time she was at the show.

29:17She 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.

29:28Tony Yayo:But yo kid, not to fast forward, because working with Aaliyah is crazy, but I'm just still visualizing. But to do that for, but the point that I was about to make, to do that for Aaliyah, that was, and to see what the outcome for Aaliyah was, that's something that's always going to live with 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? Well, and then kid, when you say Biggie and R. Kelly, did they do, you must be used to me spend? Did they come out to that or Biggie did some other shit?

29:59Rob Markman No, well, yeah, no, no. Rob Markman No, I had left by the time R. Kelly came out. R. Kelly was last. I already had left. I left in the middle of Biggie's show.

30:08Tony Yayo:Rob Markman Oh, so Biggie didn't bring R. Kelly out at that point? Rob Markman No, the show was me, Biggie, and R. Kelly. 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 where R. Kelly was already left. Rob Markman Got you. Rob Markman That shit is crazy. That's why we bring this guy. I was also on tour with R. Kelly and Salt N' Pepper. That tour was ridiculous. Who was that? Salt N' Pepper and R. Kelly. It was Salt N' Pepper's tour. What year was that? That was... See, we bring the legends on this show! Let me see you later, man. What year we did that?

30:39Tony Yayo:This is classic shit right here. That was 94. Then we did the Budweiser Superfest tour. All the Def Comedy Jam tours. We did the... How was it with Salt N' Pepper? Because you know, they was like the first sex symbols of hip-hop. Back in the days? It was crazy. Remember when Push It came out? Oh my God. Push It. Yo, they was like, they had the tight leather suits on and on. Shout out to Soul and Pepper, Spinderella. Always the date over which DJ is which, because I remember the first -

31:04Uncle Murda:I wasn't with Def Comedy Jam, man. Take us back to those days, kid. That shit was crazy. Word.

31:08Tony Yayo:That was classic. I forgot. Good one, Murda. Let me see a lighter, Murda. That was a good one, because I forgot about Def Comedy Jam. To be there with all them dudes, man, 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, they gave up an outlet on a big stage. And then you got me, this DJ on the show that, you know what I'm saying?

31:45It just gave a different kind of feel to the shit. And 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 and 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 - Rob Markman - So how was it? It was -

32:04Tony Yayo:Rob Markman - Name how was Martin being around? Rob Markman - Being backstage - Rob Markman - Name the experience. We gotta hear backstage, cause Martin - Rob Markman - Being backstage with Bernie Mac. Rob Markman - All type of people. Bernie Mac. Everybody messed up piece. Everybody. 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, Edden. You the moderator, right? You gotta let my man kick your pre-talk right quick though, man. I'm letting him talk, but I'm letting him moderate too. Find out all the people that was on Def Comedy Jam.

32:29Tony Yayo:Edden, what the fuck he doing over there? Find out all the people. Go ahead, tell us what you was about. Tell us about Bernie Mac, kid. How's it going with Bernie Mac, Martin? Tell him. So, Bernie, right, that motherfucker was funny all day. Like, you 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 have his Heineken in his hand and shit and motherfucker 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.

33:15This was him every day. You know what I'm saying? I had videos and all kinds of shit from us backstage and all kinds of shit. So you know, 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. He said, yo, I ain't never been on the tour bus before. Yo, this is crazy. I 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. Look at that. You know what I'm saying? So shit could happen in an instant, you know, depending on how much ground you put into it.

33:50Definitely. Devin Comedy Jam put those dudes out because today you see everybody, Cap, Wiggins, Steve, Alvin. Everybody, everybody. All these dudes.

33:57Uncle Murda:Everybody that came up on that. That came from that shit. Hell yeah. So it was a big platform for all of us.

34:02Tony Yayo:What's the list? What's the list of everybody who's on Devin Jam?

34:08Hell yeah.

34:15That's crazy.

34:16Uncle Murda:I don't even remember Kevin Hart from Def Comedy Jam. Kevin Hart was around there. Tiffany Haddish. That's the tip of the iceberg. Yeah, because there was so many - That's crazy. There's the ones that didn't make it big. You know what I'm saying? You know, the Charles, 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. Who surprised you the most on stage? I'll tell you who surprised me as a guest the most, and that was Dolomite.

34:51When Dolomite popped his ass out there, that shit was like, wow.

34:54Tony Yayo:Dolomite? Dolomite was on Def Comedy Jam. That shit was crazy. 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, and the great thing is when you seen the guests, all the guests that was there. But 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? That's dope. People don't like Donald Trump. I'm not a Donald Trump supporter or none of that shit or what he does. Nothing against. I'm not political or nothing. But I did a party in Donald Trump's house.

35:27That's crazy. I did Martha Stewart's first hip-hop party. You know what I'm saying? I did a lot of shit that people don't really know. That's why we got you on the show, man. That's crazy. And at the end of the day, God put you in the position. So you just do what you do. and sometimes you don't really have to talk about it. Just keep going, you know? Definitely.

35:45Tony Yayo:That's crazy, bro. You ever work with Michael Jackson? Nah, but I was on the show when we did the BET Awards, when we did the tribute to Jam Master J. Rest in Peace Jam Master J. 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 met, but Janet Jackson, Tito Jackson, Jermaine Jackson, I know all of them. I know Jackie, I know Marlon. I just did it. I just did. They just had me come to do the house, 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, Janet, how I met Janet, we were going, me and Jim, we was at the airport.

36:27We was on our way going to North Carolina to go do a show.

36:29Uncle Murda:Oh Jim, you met Janet, huh? Right. But that's how it went down. We walking into the airport and her husband at the time, I forgot his name, light-skinned 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 Jenna, I was like, oh shit. She said, I'm your biggest fan. Biggest fan, I fell to my fucking knees. That's crazy, I bet. 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 her husband was in the daytime, so we went there.

37:04Me and MC Light 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. It was a graceful family, man.

37:14Tony Yayo:Being in 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. Oh shit. Okay. All right. Okay. Shit I'm talking about. Shit I'm talking about. Talk about that, man. Yeah. Well, how that happened, that was kind of by default, right? I was doing an album. I'm going to tell you what I mean by that. Let him talk. Let him talk. I was doing an album called Soundtrack to the Streets. My first album was Kicking Pretty Tate where I rhymed on the whole album.

37:49I wasn't really into making an album. I got that album, Biz Mark. Biz Mark got me that first album deal on Warner Brothers. But he got me the album deal based on I was hot in the street from my mixtapes. I wasn't looking for no album deal. So he got me the album deal. Six years later I decided to do another album where I wanted to be a producer. so 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 that's like that. At the same time, we was on the Puff Tour, and I was playing this track on a plate that 45 King did the beat to, which was Hard Knock Life.

38:26That record, Hard Knock Life, I was going to put him on the Soundtrack to the Streets album. While I was playing in the arena, Jay heard it. Yo, kid, what's that? It's just hard knock life shit. He's like, yo, I was like, all right, put him on the phone with my 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. Gave it to Jay, it probably worked out better than 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.

39:01So that's how I won the Grammy.

39:02Uncle Murda:That's what I mean by default. All right, gotcha. You know what I'm saying? But that's still dope as shit. Hey, I'm grateful. Dope as shit. That's a blessing. Shout out to Jay.

39:10Tony Yayo:That's crazy. So we take it to, you know, he been around all these people, you know, James Brown. But I did my homework on you. Back in the days, I heard you used to go to Harlem. You know what I mean? And 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, because we're going to go to the mixtape era, because the mixtape era is as important as, you was talking about battle rap, I love battle rap, but the mixtape era is important. Kid Capri, Ron G, shout out to Kid, hold on, shout out to Kid Capri, Ron G, Grandmaster Vic, Dog Time, my man DJ Rough Hands, the Rockaway Twins, DJ Goldfingers, tape master when niggas was going to the club Jade Ellen Rello when niggas was going to the club bringing motherfucking 15 to 20 crates King Capri is in that race shout to all of them and I heard cause Ron G number 10 you and Ron G is like two of my favorites shout to Ron G Ron G number 10 was a classic you know what I'm saying that's when Tim Dawg went against the West Coast he had for Compton you know Bronx niggas was always crazy shout to the BX I love Compton.

40:31Tony Yayo:I'm not this in Compton, but he was the first nigga to go at Compton in the 80s. You remember that record. But I heard you used to sell tapes to all the biggest drug dealers, Rich, Al Poe, Fritz, Guy Fisher. Is this true? Out the trunk of the Benz or the BMWagon? Just explain that. Express that to me. Like I said, what happened was, let's start here. Hollywood Lovebug Starsky Chief Rocker Starchild and Brucey B Legends They were the mixtape gods in New York Legends Legends Right So Starchild was playing in the S &S Club The S &S 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 Starchild started playing And Starr was making the mixtapes for them.

41:27Me and him started making the mixtapes together. When I stopped playing with Starr, 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 Rucka or the street corner on 145th Street next to Willie Burgers and sell the mixtapes for$20. So I would go to a trader home, buy a case of tapes, a dollar of tape, and come out and sell them$20 of tape, make$2 ,000 in an hour. I would doing this shit every day. You know what I'm saying? These niggas were selling$20 cracks.

42:02I'm selling$20 mixtapes.

42:03Tony Yayo:Right. Right? So what got me and said, it gave me an awareness. Right. But Alpo and Richard, them niggas, was buying your tapes? Alpo would come to my joint and buy the tape for me for$500. See, this is what I'm talking about. 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, three. Five. Yeah, take the tape. So I'll give him some tape. You know what I'm saying? But that's how it went. Them things was like the soundtrack to the drug dealers. Because when they heard their shout out on their name or a shout out on the mixtape and they going down the street playing on that crazy system, it made them feel like a star.

42:43Got you. You know what I'm saying? So I had one dude tell me, he was like, yo, when I dress, if I ain't have a mixtape, a kickin' pre-mixtape on me, I ain't feel fly. Like, it was part of the dressing. You know what I'm saying? Like, you chain. You know what I mean?

42:55Tony Yayo:So it wasn't like niggas paid you for the shout out. They was just paying extra. No, but yeah, right. Exactly. My tapes were 20 out. But that paying extra was like paying for the shout out. No, no. My tapes were$20. But there was people that would come and just give me$1 ,000. 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 to give me 300. This dude going to give me 600 for it because he don't want him to have it. Rich Porter was coming through too? It was crazy. Rich Porter too? Or just Alpo? Oh, Rich would come through every now and then.

43:27Tony Yayo:No AZ? AZ would come through. A would come through. Because you know that was classic times. I see A after all that shit. All those years after I see A. It's A still chilling. But you was driving the BMW or the Benz? Who me? Yeah. I know you was looking like a drug dealer. You know what I was doing? I'm going to tell you what I did. I pulled up right on 145th street, everybody out here with all their cars. I borrowed my man's orange Camaro. What was that shit? Camaro. I borrowed that shit and pulled up right up in front of the Wooley Burgers. Jumped up on the hood, sat right there. Everybody was like, you crazy kid.

44:03Everybody out there with fly shit that had an orange 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, but I don't care. Remember, I owned 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. Legacy, making shit happen.

44:30Tony Yayo:So how was it coming up in the Bronx? Because you came up in the Bronx. I mean, coming up in the Bronx is the Bronx. I lived in a good part of the Bronx, I lived in Kingsbridge, you know what I'm saying? Right next to Riverdale, which i moved to riverdale later it wasn't you know rough like the south box but we ain't take no couldn't come to that block with no dumb and once that did left their bag so it was definitely a a 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 evaness unisex for 10 years or me and me and curtis smith um curtis smith was a celebrity hair hairstylist he you know you're always Just going back, just making sure everything's good out there.

45:12But yeah, but we always had a good time. Never been no real problem in the Bronx, man.

45:16Uncle Murda:Fast forward, right? How did you connect with Kendrick Lamar, my guy? 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 of 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, yo, you could have had DJ Poo or Battle Cat, one of them legends out there in the West Coast to come and do this. Why you didn't call them? His response was, I know what you did for the music business.

45:55I know what you did for DJs. I know what you did as a whole. A lot of people wouldn't be eating if you didn't do what you did. So I wanted that authenticity on the album. I was like, wow. You know what I'm saying? That's dope. Yeah, it was dope for him. He really did his homework. You know what I'm saying? So that's where it impressed me the most. Real smart, laid back, calm dude. You know what I'm saying? 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. That's dope.

46:23Tony Yayo:I didn't even know you was in the studio with him. That's crazy. Yeah. You were on the project, man. On the damn project, man. You produced it or you just... Nah, I narrated the album. I did about five joints. Yup.

46:35Uncle Murda:You gotta do your homework, Mr. Ye. Man, I knew about the Rich and Al post. All this I know, Kick Capri said, but you ain't know he was on Kendrick Lamar album. All these new records I got coming out too.

46:46Tony Yayo:Boy, I tell you, man. Boy, I tell you. We off camera, we brothers. When the camera come up, it's like camera. That's why I said Kick Capri, you talking all the shit you was talking back there. Fuck that, lights, camera, action.

47:01Uncle Murda:In 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 the money from? A bunch of motherfuckers owe me money. It's today. Today. That's why I don't give nobody shit no more. Oh, shit. They didn't shit on me no more. Got you, got you. Because what happens is, I'm not going to ask you for it. I'm just going to remember I gave it to you. Got you, got you. You know what I'm saying? Got you. And that's the problem. Got you. Now, depending on what it really is, how much it is, I may come and be like, Yo, what's that paper?

47:34We got to do something. But if it's something that I could do without, hey, for whatever it was, it got you away from me. I ain't gotta worry about you no more. Got you, got you, got you. Yo, talk about, you know, shout to my man Dre,

47:47Tony Yayo: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. This dude right here, let me tell you what happened. Let me just talk my shit. Cause J-Yo didn't want me to tell you, he didn't want me to say nothing. Oh, shit. Well, he didn't want you to say shit.

48:03Uncle Murda:You definitely got to say it now, man. He didn't want me to say shit. This is when I dropped live from New York. I ain't even dropped live from New York yet. He heard, shout out 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. Yeah, yo heard that shit. It 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 state, in the garden. Master Squid Garden. Master Squid Garden. Now listen, the record wasn't even out yet.

48:37Uncle Murda:You about to give this nigga some props right now, man? Yo, I'm giving it to him crazy. Oh, man, man. Listen. 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. The shit was all in. They were playing while they were playing the game. Playoffs, baby. Then they called me down there to come do a bunch of shit for the guard and all that shit. This shit wasn't even out yet. So this bro, he really set it off for me for that record before I even got a chance. And now the smart thing was I didn't want people to think it was a New York Knicks record in case they lost.

49:08So I waited for them to see if they were going to lose or win before I dropped the real video.

49:14Tony Yayo:Murdoch, at the end of the day, I had the sound in the air. This guy is a dope producer. He's a rapper. You know what I'm saying? And he's the number one DJ. DJ KJVN That was a dope look he did that. DJ KJVN So 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 as 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? DJ KJVN I got you. DJ KJVN I got you. DJ KJVN I was about to steal it.

49:46Tony Yayo:DJ KJVN You know what I mean? DJ KJVN But you know what I mean? Like they look at him as, yo, he's number one producer because when you get on them turntables and you hear, Kid Capri, you know it's - The party DJing, you know, there's - That's Capri. What I do is the party DJ. 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, there's Kid Capriing 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.

50:20Everybody knows that. It's the, you know, 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 ain't like that shit. One time I was like, why everybody doing my shit? Fuck is everybody doing my shit for? Find your own shit. I ain't come and sound like Boosie. I ain't come and sound like Star. and I came out, found my own shit and I moved with it and it worked. Find your shit, be influenced, but don't be, don't copy.

50:48We don't come from that. But what are you gonna do? You know what I'm saying? So once I got over that and really looked at it for what it was, it was like, yo kid, you influenced the world, baby. You really did that shit. Like you really did that shit. So once I got into that, it was like, yeah. Gotcha. That's dope. You know what I'm saying?

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54:04thing is always an album and then you know the next thing I you know I always try to innovate this is why I think I don't 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 a abundance of everybody doing everybody everything everybody's a rapper everybody's a stripper everybody's everybody's everything Everybody got something to fucking say. Somebody name him off. Everybody got a podcast. Everybody got a podcast. Fuck him, he got a podcast. Fuck nigga. No, there's nothing wrong with the podcast. It's who's doing it.

54:39Of course though, fast. That's what it is. Just like everybody ain't Kid Capri now. Everybody can't do everything. You know what I'm saying? Like the album thing. Now everybody's supposed to be making albums. That's why the album narrative went down. You're right. Because motherfuckers make an album and have 12 garbage records on there and one good song. So now you go get the one good song.

54:59Tony Yayo:Because that's what they turn the game. That's what, 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. You ain't even say nothing yet, brother. No, because I'm like Keith 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? Mm-hmm. You had KRS-One, you had fucking Eric B, Rakim, Big Daddy King, Slick Rick, Kool Moe D, fucking, you had records like Self Destruction, you had Stetsonics. Stetsonics. Stetsonics.

55:37Tony Yayo:Stetsonics. Stetsonics. Stetsonics. Stetsonics. Stetsonics. You had a couple of jigs. Let's name more. You had DJ Red Alert. You had, what's my man?

55:48Uncle Murda:The list goes on and on though. We get it.

55:50Tony Yayo:Let's go, there's so many DJs. For me, the 80s was like, and then you always gotta say Ralph McDaniels. Because I'm the nigga that - Absolutely. Was in the crib, when I hear that, dun dun dun dun dun dun dun dun. He don't get the credit he deserves.

56:03Uncle Murda:He definitely don't, man.

56:04Tony Yayo:He's before BET, all that shit. He don't get the credit, just after Ralph McDaniels, he don't get the credit. When you used to hear that, dun dun dun dun dun, it was like, at that point - That shit was like on Soul Train. Yeah, you heard, as a kid, Soul Train and that. Rob Markman, show train was on Saturday. You know what I mean? You wanna look on that shit for the chicks. That's when you see girls in tight outfits as a kid. You know what I mean? But like when I heard that, and Big Daddy Kane is on there with the big chain, right? Slick Rick. Like for me, like even Run DMC, classic shit for me was, it's Christmas time in Hollis, Queens.

56:46Tony Yayo:Because that was like a Christmas song, like a Christmas album. That was just, for me, those are like the best times in my life, man. 80s, man. Block parties, DJs, scratching. You know, there was actual turnt. Like for me, I don't know how to mess with CDJs enough. My man, Rough Hands, and like I went to Grandmaster Vic parties. Like I went to Jamaica Avenue to buy mixtapes, Dog Time, Grandmaster Vic. Then here came Clue. You changed the game. We fuck with you, Clue. You changed the game. I like blends. You know what I'm saying? I like, we had our shit. That's the Queen's anthem. I was in them parties.

57:24Tony Yayo:Grandmaster. So for me, I was like, yo, this is classic hip hop. Rest in peace to Freaky Todd, the Lois boys. Remember when they came, I was around, like I was in the streets, like listening to that. But as a kid, Ralph McDaniels, bro. Talk about that, man. Like Ralph McDaniels, that time in hip hop, to me the 80s was just all about New York. Rob Markman 1, 2nd, 1. Yeah, he deserve it. Man, 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'd be the problem.

57:54It'd be the ones that really care about it that don't get the recognition that they're supposed to. And the ones that really don't give a shit, you know, they come in 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 can 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?

58:38What 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 life. So 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?

59:17You 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 and fuck.

59:25Tony Yayo:Kid Capri, stop being modest. You're better than a lot of people. Just the real shit, though. You're better than everybody. Who are you talking about? But it's the real shit, though. It's the real shit. Yo, I want to hear that. I appreciate that. I appreciate that. I keep back there. Rob Markman, I wanna hear this modest shit. Yo, listen, bro. Rob Markman, No, this is what I'm - Rob Markman, You don't need that shit to me. Rob Markman, 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.

59:51Tony Yayo:But being a DJ is the toughest job. Y 'all might get shot at less. Of course, right?

59:56Uncle Murda:Rob Markman, Definitely.

59:57Tony Yayo:Rob Markman, Yeah, y 'all get shot at less. So y 'all a little bit better than the rapper. Rob Markman, But think about this. 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? How does a DJ, because you know what I'm saying? How do you know how to move the crowd? What would be your advice to a DJ? If I was DJing and I'm in fucking London, what are you going to tell me? Play Afro beats? Or if I'm in New York, in Harlem, tell me what's the mindset? that's what I want to do 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 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 this music those records are never heard nowhere else they just pop it in that one city and it's an underground thing so when I come and play that shit they're like how the fuck he knows that oh you do your homework it been like that for years how do you play that record first yeah so when I play it the crowd is losing their mind oh you're a fucking genius and this is all over if I'm in Alaska I know what's popping in Alaska thank you for the secrets I just gave y 'all a one on one just now you bum ass DJ That's crazy.

1:01:32Tony Yayo:That's crazy.

1:01:33Uncle Murda:So I think Kid Capri make the transition to rapping now. Because now you rapping. 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 nigga, check out this new shit I'm spitting. Like what's good? So how'd the transition happen with that kid? It never was a transition. my first before there was a rough riders a cash money a no limit a bad boy Kick It Free had a rap album Kick It Free The Tape oh okay right so through your homework 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.

1:02:29Since 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 it never been my bread and butter. I didn't want to deal with all the

1:02:43Uncle Murda:Everything it come with. It come with. Especially make my type of album clearances and all that shit to say you know what let me just do it when I want to do it. And now that we in everywhere you ain't got to have no handcuffs on you. You know what I'm saying? You can do things and - Social media is just get to have fun. If I want to put this shit out of my - Just have fun, you do what you want. You can just do it. Got you. You know what I'm saying?

1:03:02Tony Yayo: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 devalue the DJ. Because like I said, okay, let's go. No, I'm going to tell you. We go from the 80s. Terminator. Look, Terminator. Love this 80s. Go ahead. Go ahead. Learn to let people talk. I always let you talk. Let me talk. Let me explain my synopsis, nigga. Right? Right? You heard that nigga. That's what it's called synopsis. You know he been drinking a lot today.

1:03:34Uncle Murda:Go ahead. Synopsis. Let me do my shit. Go ahead. That's a good one. That's a good one. Enjoy your life. Rob Markman, I'm a jerk.

1:03:40Tony Yayo:Rob Markman, I'm a jerk. So what I'm saying, like in the 80s, right? We knew who Terminator was, Terminator X, right? Terminator X, he had the big glasses. Rob Markman, Right. We knew Jam Master J. Right. Rob Markman, Right? Let me think. Who was Slick... We knew Eric B and Rakim, right? Who was Slick Rick DJ again? Do you know? Rob Markman, Rance White. Who was his DJ? Rob Markman, But at that point... Rob Markman, You didn't know him. I like how you just stopped that question. Rob Markman, I forgot Slick Rick, because I know he always had the can go and shit. Let me see, I ain't know who it was.

1:04:11Now look, that was an important time of the DJ.

1:04:15Tony Yayo: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, the 80s Red Alert? We would say what year was Red Alert? Red Alert started in the 80s. I'll give him the 80s too. Yeah, what was it? Yeah, where had Red Alert? Where you going with it though? What I'm going with it, I'm not trying to confuse you. where I'm going with it.

1:04:39Uncle Murda:Cause you're confusing me, kid.

1:04:41Tony Yayo:Y 'all now let me finish my fucking Sinopics.

1:04:44Uncle Murda:Oh shit. Oh shit.

1:04:46Tony Yayo:Start Sinopics. Look, the 80s, the DJ was relevant, like to an extent where you was watching Eric B as much as Rakim. Let me keep going. Let me finish. I know what you about to say. I'm a hussy. The 90s, even like, what I'm saying is like, even in the 90s, you had King 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.

1:05:29Tony Yayo:Kid Capri, oh shit, he might have this freestyle from a nigga 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 value to it. And I love all the DJs to this point now. That's why we got them on the show. But I feel like niggas don't give just do to certain DJs or DJs in the game, period, like how they used to in them era. That was my synopsis.

1:05:58Uncle Murda:Rob Markman, he can do synopsis there, kid. Let me - Rob Markman, Do y 'all agree or no? Rob Markman, I want to hear his take on this. I want to know what the question is.

1:06:06Tony Yayo:No, do you feel like niggas, sometimes, a nigga 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 niggas don't give niggas.

1:06:17Uncle Murda:You said the DJ position got paused, it's not bad as much as it used to be.

1:06:23Tony Yayo:Yeah, in the 80s, 90s to now. When something gets... All right, let me back up. Let me back up. They was the stars, nigga. In the 80s, before rap records, right, it was Grandmaster Flash and the Furious Five. It was Grand Wizard Theater and the Fantastic. It was Charlie Chase and the Cold Cross Brothers. What was the DJ name first, right? Records came in and then DJs were scratching on the records a little bit, right? But then they didn't need DJs 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, standing in the front.

1:07:09Now, 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? Like that transformed into the tape. Now the tape got so popular that we started getting album deals now to make it, to make, 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 going to get warm.

1:07:55It's going to get warm. It's not going to 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 going to get a tattoo. And everybody got fucking tattoos. One day somebody said, I'm going to smoke a hookah. Nobody know what hookah is. Everybody starts smoking hookah and sound cool. You don't even know what that shit is.

1:08:18Tony Yayo:We've seen that overseas. Yeah. This is what I'm saying. When something gets hot, we overdo it until it ain't hot no more. How many DJs had albums? It was only Flex, you, Clue. Me, Tony Touch, Flex, Clue. There's a lot of them. Yeah, it's probably been a lot of them. Khaled, like it's - No, there wasn't that many though. I mean, no, it wasn't that many. Of course not. Flex, you said Tony Touch, you, Flex, Clue. Preston P's, K Slay used to be put - Oh, Preston P's, K Slay. Yeah. And that's really - I mean, that's a good handful for where we came from, where DJs wasn't looked at to do that. You know what I'm saying?

1:08:51So keep that in mind. Like, you know, I set the trim 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 on the front page of magazines. They, you know, we on a, you know, we being highlighted the way we supposed to be highlighted at award shows and, you know, shit like that. It's still a long way. Like I fought for the fact of I'm not going to be treated like some nigga playing music. You know what I'm saying? Like just playing records. You're going to put me center stage like you put the hit artist. You ain't put me on no bottom of no flyer.

1:09:21You ain't treating 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 really 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 where you're paying him. Where you gonna look at it because I'm playing other people's music and I'm a DJ isn't any different.

1:09:55It'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 one time a dude walked up with 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 yo kid yo you killed this shit this shit was crazy yo I made$250 ,000 $210 ,000 on you just on the bar alone I was like word alright and from that day on I got what I wanted

1:10:40Tony Yayo:got you I think it was exciting he made that brand exactly because look at it this way

1:10:45Uncle Murda:he ain't mad at him look at it this way right for years So it was just your name on that flyer? 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 artists. 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 artists. so how do you bitch about what I want from that door you pay me what I want and that's why but but with that you got to bring a certain amount of artistry to that stage to demand that everybody can't demand that you everybody can't demand that and if you're going to demand that you have to you have to bring what backs that up you know 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 to hit record it out.

1:11:42Okay, record's going. What are you going to do for me to hear your next record or come to your show and enjoy you and buy your merch? Are you going to... That's what I'm saying. That's a whole big picture. Before you get in this business you got to know that. Because you be here today going tomorrow. I don't watch motherfuckers come today be here. It be here. Today they can't get a show.

1:12:03Tony Yayo:DJing is like rappers. It's competition. And he know that. I know he ain't going not admit to that. And I'm going to tell you why. Now, shit be different. Like, when you a big dog, and I know Flex and Kid Capri, and all these niggas do that, you know how the first DJ be there? He opening. Kid Capri would be like, yo, tell that nigga don't play certain records until I get there. No. No, I'm just saying, maybe not him. Maybe not you. I'm saying you don't do that. But look, not you. When you a big dog, I thought you was allowed to do that. Let me tell you. If you were open, listen. No. Let me explain it.

1:12:39down yeah let our guests talk 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 a 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 At the wrong time Right 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

1:13:31Uncle Murda:So there's no random DJ never opening up for you

1:13:34Tony Yayo:I thought that was the golden rule though There's times we have DJs opening up But here's the problem I would go to them and tell them what we need To do to make this shit work In a good way right He would 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 Right Jesse James he been working with us. 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.

1:14:11You know what I'm saying? Technician, the DJ. You know Technician, the DJ that plays for Locke. He's been with me for 25 years. You know what I'm saying? He's 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.

1:14:33Tony Yayo:No, I thought it was like DJ Golden Rule. No disrespect, but if you don't open it. It should be a Golden Rule. That's how I learned to. It's the same thing as if you was opening for 50, right? You Tony Ayo. You ain't going to be doing 50 records before 50 come out there. That's what I'm saying. Right, so if you hire me to. Now, these are not my records that I'm playing. But you hire me to play these records. You want the Kid Capri shit. You want that shit. So if you want that impact, how do you expect me to play around somebody that's playing the shit that I need to play to make that impact go.

1:15:04Even though there's a million records to play, I don't know what this man's playing, so I'll come here playing where he playing. I'm not going to get the impact that... That's the problem. It's not about what you play, it's about what I know you're playing. And when you play. And when you play. You know that to play that shit at 10 o 'clock at night. That's what I'm saying. But you want to get it in because you want to get it in to show you can get it in. You know what I'm saying? That's not... I thought it was like

1:15:28Tony Yayo:Golden Rule, I learned. See if I'm being DJ, Ruffians. twins in them and like tape mastering them like they like if my man if hardcore you know hardcore he was like the opening act for rough hands and hardcore you would tell hardcore nah nigga don't play this it was like golden rule like nah you you don't open it you can't play the new soul of soul my thing is to me i thought it was gold listen it doesn't matter what you play i don't care i could play the same shaft you i'm gonna 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 or good at anything, you should be able to do shit with C &D.

1:16:04Yep. C &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.

1:16:38Well, I'll tell you, go take your event, shove it up your ass, and 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 no 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.

1:16:51Tony Yayo:I told him don't do the rap up. 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? No facts. No, definitely. This is what I'm saying. And so we got to hit that. And like I said, for years, the DJ was looked at as he's the bottom. He's the bottom one. You know what I'm saying? 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 know what I'm saying? The better producers, the DJs. Like, you rely on the DJ for every day, but you want to look at him as he's the bottom.

1:17:25You want to put him over here on the stage. Put him on the bottom of the fly. Talk to them any kind of way When you're an artist Walking in Talking to the DJ crazy Like You see the thing What happened

1:17:33Uncle Murda:Respect the DJs Stop playing

1:17:34Tony Yayo: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 that kid just Putting out a party record He rapping That's cute And then I put Talk heavy on their ass Definitely And when I drop Talk heavy 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 can do it all right right so that's what that's why I stand tall and stand on it like that and you know that's how a lot of people should think of it it doesn't have to do with the DJ but it's 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 Yo, he's a diva.

1:18:27Fuck you calling me a diva? Cause I don't want my shit situated a certain way. You gonna tell your boss he's a diva cause he wants you to work a certain way mama?

1:18:36Uncle Murda:No, no, this is me man.

1:18:39Tony Yayo:Hey Capri, man, I got a question for you, right? If you had an all Caucasian crowd, what's the first place records you play? All Caucasian crowd. Probably start with, I love rock and roll. I love rockin' bro. Something like that. You know that song? Murdy I Know You. I didn't know that song. You never heard that song? I love rockin' bro. That's a good one. I did. Look at that. Okay. Learn something new every day. Say we is in Washington Heights. What's the first record? We in Spanish Harlem. What's the first record? We in Spanish Harlem. We're probably gonna play something about Daddy Yankee. What's that?

1:19:26Gasoline or something? That's old, but yeah.

1:19:28Tony Yayo:Gasoline. That's gonna work. It's gonna work. You got that one with that one. And now, you know, Bad Bunny out. Definitely you gonna go Bad Bunny out. Okay, let's go. Say we got a whole African crowd. Shout out to all my Africans. Say we got an African crowd. What you going with? Probably gonna go with the Soka, Jump, Boopy. Yeah. She's going to shake. What about Jamaican? Jamaican? She has to buy anything Jamaican.

1:20:03Uncle Murda:That's a good answer. Nah, because that's the mind. I'm just saying.

1:20:08Tony Yayo:I'm just saying. I put anything Jamaican. That shit's going to shake. That's just, that's, no, I'm just saying, just the mindset of a DJ, that's why I think your job is kind of harder than the rapper. Of course it is. Because that's how I do it. Well, I'm not going to say you. We're not going to say that. A rapper can get a - Rapper's job is hard, brother. Your job is very hard. Your job is very hard. It's harder than the singers, too. No, no, no. I'm going to give you a better example. If you was to say, yo, yeah, yo, we got a DJ in Boston, right? Let me talk now. Don't cut me off. Nobody cut you off, brother.

1:20:43Uncle Murda:Let me talk. Yo, he love your kid for the record. He loves saying, let me talk. That's like his slogan. I'm a rapper and -

1:20:49Tony Yayo:Look, 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 murder, Kid Capri. What record would you play?

1:21:03Uncle Murda:Rob Markman, In Boston, an old white record? Yeah. Rob Markman, I might throw some Post Malone on or something like that.

1:21:07Tony Yayo:Wrong. And I shout to Post Malone. You know what I would play? You know what kill the crowd? What? What? Sweet Caroline. But you ain't gonna start with that. I'm starting with that.

1:21:24Uncle Murda:That's because you're not a DJ.

1:21:25Tony Yayo:So good. I'm telling you. That's why your name is not DJ. I'm not you, but that's what I'm starting with. Thank you, kid. So what you starting with? I wouldn't start with that. You never heard of Sweet Caroline? But again, there's a science. Of course I heard Sweet Caroline. Yeah, we ain't gonna start with that in Boston. There's a science to everything. You don't know that. I'm starting with that. I bet you I moved the crowd. You play Sweet Caroline. I bet you money I moved the crowd. Now when you walk in. I'm talking about all Caucasian crowd. Now when you walk in. Now when you walk in, man.

1:21:56Tony Yayo:That's my first record. That's what my mind is. You better play some EDM. I'm going to start DJing. Nah, that might not work either.

1:22:02Uncle Murda:Hmm. It might. So what would you play? But it depends on the crowd. Got you. Because there's different white crowds. Exactly. There you go. You know what I'm saying? You got a different, so it's the same with us. Like you got the - What would you play?

1:22:12Tony Yayo:What would you play? What would I play in the white crowd? Is that real? It depends. It depends on who's in front of me. That's the thing. I look at - You gotta look at the crowd. I walk in, I look and see what's going on right there. I know what to do. Boom. Jim Watchman do it all the time. I just look, see, done. Doesn't matter if it's an arena. Doesn't matter what it is. He just got the eye. I know what he mean. He just got the eye. I've been so used to doing it all my life. That shit is a second nature. Like when he go to DC, he know he gonna play some go-go shit. It's the way you play it though.

1:22:40Tony Yayo:I know. It's the way you play. Sweet Carolina. You don't even know about Gogo in D.C.

1:22:45Uncle Murda:Sweet Carolina.

1:22:46Tony Yayo:In Boston. Shout out to Boston. Sweet Carolina. I'm not listening to the kicker. He's like, Pint, Tint, Tint. This is the real part.

1:22:53Uncle Murda:I want to know this. How's you and Funk Flex relationship these days? Are y 'all in the good space? Because I remember a couple years ago with some back and forth one. So don't sit up and say it was never nothing, nigga. Because there was some drama. It was some static. I'll say this. It was drama. Personally? Yeah, I did. Never nothing. Okay, all right. It was more internet, radio type shit like that. Competition? Competition. Okay, there you go, okay. That's all it was. I just wanted to know, because I never spoke to you about it at all. Flex cool today, it's all good. Okay, gotcha. But after time, Flex was...

1:23:24He needed a little tap on his hand for a minute, because he's Flex. Like, he says what he says, he does what he does. You know, you step in my arena, it goes the way it goes. Rob Markman, And it was all dope though, but that's my dog. Rob Markman, Did you hear that?

1:23:41Tony Yayo:Did you hear what he said, man? You step in my arena.

1:23:44Uncle Murda:Rob Markman, I mean, that's how anybody post to feel. Rob Markman, I'm just saying the way he said it, that's like cocky shit.

1:23:49Tony Yayo:I like that. Rob Markman, I would love to see DJ battles. The game got soft. Rob Markman, Now you know what's crazy?

1:23:59Uncle Murda:How would a DJ battle? Rob Markman, I'd love to see DJ battles. Rob Markman, How would a DJ battle? Rob Markman, The Instas, right? Like you in 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, motherfucker, I'm not... How would a DJ battle? And how would you come up with a winner? It's all about playing the best records. Whoever shook the crowd the best. There you go. What do you mean? Has that been done before with the DJs like that? DJ battle? Yeah. That's where it comes from. Where hip hop come from? Let me murder.

1:24:29Uncle Murda:Let me... This is the real part. I'm talking about it being done recently. Like, you know, DJ battles. They ain't been done in a long time. Recently, yeah. You got DMCs every year. You got DJ battles. All I'm saying is - You talking about knowing. He telling you what happens every year. But you talking about a battle that me and Flex would have did. Me and Flex. Yes. If it's me and Flex or anybody that do what I do, would have done. How would that? How that could have got set up? I would have did it an hour. Okay. And that would have been the battle. All right, got you. You know what I'm saying?

1:24:54Whatever time it was set. And what you did in that hour.

1:24:57Tony Yayo:No, what I'm saying is this, right? Like, that's like how niggas don't got the slam dunk concerts. No stars do it. If you had DJ battles like a Flex versus Kid Capri, nigga, not on - That would be crazy. Look, not on the versus 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. But see, that's what I'm saying. Know what I'm saying? I'd rather that. I don't - That's what it was about. I didn't - Listen, I didn't want that with me in flex. Let's get that straight. You know what I'm saying?

1:25:35I 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. Yeah, like, yeah. Pause. Yeah, that was a little crazy. Right, that was a little crazy. Yeah. 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 had said things to a lot of people that never said anything back. You know what I'm saying? And this time something was said back in a way that it was a little stronger than you probably thought it was going to be.

1:26:17But it didn't need to go no further than that. And like I said, it was impersonal. You know what I'm saying? Definitely, definitely. If he would've called me right in the middle of all that shit going on and said, kid, I need you for something, I would've been right there.

1:26:26Uncle Murda:Got you. And it's probably vice versa with him. Yeah, it's all good. Got you, got you.

1:26:31Tony Yayo:This is how I look at it. It's all about, like I said, you would love to see Kid Capri, and not beef or 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 being a party in South Side. See, I don't like that though. Hold on, let me finish. I don't like that. Why you don't like that? 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.

1:27:12It 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 That 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 battle Of course This is culture But when it comes to Knocking down careers And knocking down And making another narrative And motherfuckers Getting shot at And all that Now it becomes Something different I mean people Been getting shot at With hip hop That been a part of it

1:27:42Uncle Murda:That been a part of it That been a part of it I feel like I feel like You got to have tough skin with it. Listen, KS1 and MC...

1:27:51Tony Yayo:Yeah. Listen, KS3. But not unnecessary. Y 'all tripping. Everybody got a comment with the internet. Since KS1 and MC Shanby, we know hip hop was always about competition, bro. Like, it ain't nothing negative. I know sometimes it might go to some... Let me talk. Yeah, he did. Look, but like even 50 said, we from Queens. Come on. Y 'all motherfuckers got shout outs on all that shit. That nigga can't arrest it. And Queens keep on faking it. Nigga, we was still listening to that shit like - But you know what? Yeah. Bronx keep creating that. We can keep on taking it and Queens keep on faking it. Niggas was like, what?

1:28:33Tony Yayo:But it stayed there. Listen, but look, the beat was so hard and what he was saying was so crazy. Niggas had to respect it. MC Sheehan beef. We liked it. Nas and fucking Jay. don't act like you didn't like that beat. Shit was incredible. Exactly. But that's what I'm talking about. Yeah, yo, no, no, no, no, no. You ain't gonna do that. Nah, fuck that. You ain't doing that. Tell him, kid. That's not what I said. What I said was, I'm not talking about that. I'm talking about when it turns from, y 'all, from a battle being two dope motherfuckers to people getting shot at because one don't like the other one.

1:29:08Because the crowd, the same thing. They shooting that Drake at his fucking crib because they're Kendrick fans. Because they're Kendrick fans. When it becomes that, that's something different. We don't know that.

1:29:22Uncle Murda:That's what I'm talking about. So yeah, of course you want battle. It keeps your head sharp. Like, yeah. And it's exciting for hip hop. I'm nice. I think I'm the best in the world. It's exciting for hip hop. It's exciting. It's beautiful. If it stays where it's supposed to stay. Like Jay and Nas did. They did a battle. Next thing they're doing business with you. Bullshit. Bullshit.

1:29:46Tony Yayo:Bullshit. How's that bullshit? That's not what happened. Nas talked about the baby seat. The baby seat shit with Nas' daughter. Nigga, what are you talking about? What are you talking about? Jay said in the battle, nothing should ever go too far, right? Yeah. That's what he said in his shit, right? When we look at the... Well, in his song, what did he say? It's not about what he said. I got it on the baby seat, nigga. It's not about... Jay, yo, you're not paying attention. You can't say... No, you're not paying attention. They're going to show this on the camera. You're not paying attention. You can't say, yo.

1:30:15It's not about what he say. It's about the end result. It was a battle. Regardless what he said, they end up doing business afterwards. Not nobody shooting at each other. Okay, okay. That's what I'm talking about. Hold on. Hold on. Let me rebut that. Let me rebut that. Hold on. I was going to say something. No, no, no.

1:30:34Uncle Murda:No, no, no. No, no, no. Fuck you. No, no. Damn, fuck me. No, fuck you. No, fuck you. Fuck you, fuck you, fuck you. Listen, oh no, fuck you too. Pause, pause, pause. A whole bunch of pauses. Let me just say, wait. Hold up, hold up. Hold up, pause, pause, super pauses. Another pause again, but get your point across. Pause, it was too many fuck you right there, pause. What I'm saying to you is, listen, Jay said, listen.

1:31:00Tony Yayo:Jay said, no, because I hate when I'm, I'm keeping real. Jay said in the interview, right? Get your point across, right? 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? Okay. Now, listen, hold up. That went too far.

1:31:26Uncle Murda:Now, listen, now let me say something. It ain't too far enough for somebody to shout at. It doesn't matter. Verbally, it got crazy. One thing I got to say is, he's drunk, though. He hit a little butt. I got to give my brother. No, I'm not drunk. I gotta give him his props on that. You know what though? I gotta give him his props on that because when you do say, when you do say, um, Battle Line, some things go too far, right? Between him and Nas, that was a little too far, right? That was too far for Jay. I'm not gonna front. When you think about it, it was, it could've went to the next level. It didn't, right?

1:31:59Uncle Murda:It didn't. But behind saying something like that, it could've went to the next level. Do you know how much personal shit real battle rappers say to each other? We not talking about them battle rappers though right now. We ain't talking about them battle rappers. Now you going left. Now you going left. Now you going left. Now you going left. Because battle rappers is there. They in front of each other. They saying certain things. They prepared for that, right? Y 'all supplied the war.

1:32:24Tony Yayo:DJs, y 'all supplied the weapons for the beat. We not talking about that. We talking about battle.

1:32:27Uncle Murda:We talking about - What are you talking about? Jim, that's the truth. You want to see certain shit. Like you want to see - You supplied the weapons. Wait a minute. Drake, you want to see Drake versus Kendrick, right? But people did feel like when the little pedophile things, like, all right, that was going too far. When Drake started talking about the nigga BM and his girl and the kids and shit like that, and baby might not be in his, people felt like, all right, now the battle is getting a little like, oh, they going a little left with it, right? But to criticize that, to say that, all I'm saying from what he was saying, right?

1:32:58Uncle Murda:For Jay to say when certain things are going too far, and then you mentioned something like kids and coming on babysitting. 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. Yeah, no doubt. It could have went crazy. But of course, Jay mature now and he get it and he realize now, damn certain things you say, it could fuck up. You know what I'm saying? Because a nigga mature now and he get it. Damn certain things shouldn't have been said back then. You know what I'm saying?

1:33:27Uncle Murda:But when you young want to come up, you don't understand that. And 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 now this shit was built off that. Like really? Hip hop was built off that shit, niggas.

1:33:53Uncle Murda:You the DJ, you the arms dealer. You the arms dealer.

1:33:56Tony Yayo:If it's beef, if it's drama, you gonna disrespect the nigga to his teeth. The DJs are the arms dealers in the war. Because once that Machiavelli shit come out, come with all that Machiavelli, y 'all going to play that shit. Who shot you? You going to play that shit. Y 'all going to play that shit. Drake shit come out, y 'all going to play that shit. Kendrick shit come out, y 'all going to play that shit. DJ, y 'all the honest deal. I don't give a shit about that. I'm talking about nobody getting fucked up. You keep talking about battle rap. That's why I get confused. No, no. Shout to battle rap.

1:34:23Tony Yayo:I'm talking about - No, I know what Ken was trying to say.

1:34:25Uncle Murda:Thank you. I know what Ken 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 That's what they get paid to do 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 You talk about my mom's I'ma punch you in your shit You talk about my mom's On the battle I'ma punch you in your shit You talk about my mom's On the record I'ma punch you in your shit But the battle rappers There's no different But the battle rappers Is built different for that Because they 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 They Rob Markman, But this - Rob Markman, They used to - Rob Markman, But let's keep it real.

1:35:04Tony Yayo:Let me ask both of y 'all a question, and I'm going to ask y 'all a question too, right? We'll say, right, like 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? Rob Markman, Of course. Rob Markman, There you go, right? That was the biggest shit you've seen, East Coast, West Coast. You know, Shook Knight at Death Row, we don't do the dancing, we don't do the singing, none of that. Niggas fed into... Now, let me talk to you about it.

1:35:35Tony Yayo: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. Word of mouth shit. And East Coast, West Coast, we knew it was a beef, right? When Biggie came with Who Shot Ya? And 50 came... I mean, 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. Come with Wankster, Wankster. Y 'all was just playing Ja Rule, but now you're playing 50. Wankster. You just was playing Tupac. Now you're playing Biggie. Like, y 'all niggas are the arms dealers.

1:36:11Tony Yayo:And then when somebody gets shot, niggas is like, yo, peace, man. Yo, y 'all niggas are the niggas that was spinning the shit. Billboard, look.

1:36:20Uncle Murda:Billboard, Vogue Magazine. What you got to say about that, nigga? I don't got nothing to do with that. Y 'all DJ niggas be playing this shit. Y 'all is going to make the industry horny. Y 'all niggas want to stop throwing the white flag. I love all of y 'all, but come on.

1:36:31Tony Yayo: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 G, Versace made money. Everybody made money off the Biggie Tupac beef. And y 'all niggas love that shit, nigga. Get out of here, bro. The industry build 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. No disrespect to him or Joe. Once they can start shooting, we gotta keep it peaceful. I can't be saying. That's why I don't fuck with the industry. I'm the nigga, listen, I'm the nigga that big cancel.

1:37:13Tony Yayo:You can't cancel somebody that big. I couldn't walk on Ray Kaufman. Ass 50, they banned me from Ray Kaufman. So I've been canceled. I don't care, you can't cancel me. But the industry's full of shit, y 'all amp shit up, DJ's scratching the shit out.

1:37:32Tony Yayo:Flex all y 'all niggas. Once bullets start flying, yo, we gotta keep the peace, man. Where's the industry? Fuck outta here.

1:37:41Uncle Murda:Hey, man. Fuck outta here. So, boo, she's up there. Fuck it. Kill your fucking selves. I don't give a fuck, do it. Kid Capri is trying. Kid was trying. Kid was trying. He was trying, but he said fuck it.

1:37:52Tony Yayo:That's why the battle rappers are the only ones that can disrespect niggas. Get out of here, man. You crazy. I didn't say that. Are you crazy, kid? I didn't say that. You said they the most disrespectful. They the most disrespectful to each other. They get paid to do that to each other. But they know how to. They the best at that. And nobody gets killed. Nobody gets shot. What, niggas? We get beat up, shot. Oh, pistol whip. Oh, you bugging. Niggas get beat up that don't know what they doing. Yo, you better watch smack. I'm talking about the real battle rappers. The real ones. The real top tierers.

1:38:20They say some of the most craziest shit. And after the battle was over, they go on the drink.

1:38:25Tony Yayo:Nah, niggas got shot. You bugging. You can look up. Who got shot? Mad niggas got shot. We can look it up. We'll find it.

1:38:30Uncle Murda:Shout them battle raps.

1:38:35Tony Yayo:Remember Mad Falfa punching niggas back in the days, nigga? What are you talking about? It was mad shit. Mad niggas slapped with guns. All kind of shit. They be saying it in the raps later on. You got to check it out, King Capri. You got to do your homework.

1:38:46Uncle Murda:You said they be saying it in the raps later on, yeah?

1:38:48Tony Yayo:Yeah. Yo, we got pistol whip and robbed, niggas be saying that. He's saying, really happened. You think gangster shit don't happen to battle raps? Shout out to the battle rappers. Talk to him. We don't have him on the show. He act like his kumbaya over there, nigga. Got you. There's even more gangsta over there. Oh, shit. What's my man that just got him from Jersey? I don't know.

1:39:12Uncle Murda:You know. Oh, T-Surf. T-Surf. Su-Surf. Su-Surf.

1:39:15Tony Yayo:Su-Surf. I'm sorry, I'm sorry. I'm sorry, I'm sorry. That nigga just get out the feds. That nigga was in the feds, nigga, walking the yard. You know his paperwork was correct, nigga. He was a battle rapper. He got shot and all that, like 50 and walking the yard up top. Pulak, nigga. I mean, there's exceptions. You talking about like it's Kumbaya over there. I ain't talking about Kumbaya, I'm just saying. Battle rappers is Kumbaya. Like I said. I ain't gonna say that. I didn't say that. Nobody ain't getting killed. Yes, they are, nigga.

1:39:46Uncle Murda:Y 'all kill y 'allself, nigga. Y 'all the niggas, dead, dead, dead, dead.

1:39:53Tony Yayo:You, Flex, everybody. When we was dissing Ja Rule, Flex was dropping bombs, nigga. Boom, boom. Yeah, Flex, yeah. Y 'all love that shit. Shut up with that shit, kid. I know you love that shit. You moved the crowd, nigga. You came up before that shit. You was in the shit in the 80s when niggas was getting shot and taking a bus. Bullets out they self back then, nigga. In the club in the Bronx. He know what I'm talking about, nigga.

1:40:19Uncle Murda:Oh shit. Kid, niggas was taking the - The 80s, nigga? Kid was not around nobody getting shot taking a bullet out the house, man.

1:40:25Tony Yayo:Nigga, he was in the castle in the fever. Real niggas was in that shit. Kid just - Oh, it wasn't the fever, the castle, my boy. But the castle, I thought the fever too. Somebody gave me the wrong information. He said - You never did the tunnel?

1:40:37Uncle Murda:He said Kid was in there when niggas getting shot

1:40:39Tony Yayo:and they took the bullet out they self. Nigga, he was in the Bronx in the castle, nigga. In the 80s. Niggas was kidnapping niggas back then. Niggas. You know what? Hell ill you had to be a DJ back then? A whole lot happened since then, yeah yo.

1:40:53Uncle Murda:Rob Markman, a whole lot. Kid been doing a whole lot. He started a record label, all type of shit, man. All college shit. Rob Markman, How did that record label come about, kid? How did your new record label come about, man? Making records, man. I wanted my own shit, do my own shit. Ain't gotta answer to nobody. That's right, man. Do what I do, man. That's right, that's right. And like in 2023, I had caught cancer and shit. Yeah, I knew about that, man. How was that whole experience, man? Fucking - The artist is definitely good, man. You hear what I said? Yeah, I'm trusting Jesus. Thyroid. Thyroid cancer, they take the thyroid out.

1:41:27And so in 2023, ain't nobody knew how to do all this stuff. I brought Derrie G out in 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 Soursop. Me and my man, Ron, we got together and started a business. And we sell everything from Chaney Root to Maca Root.

1:41:57Tony Yayo:We can find it somewhere online. Herbal Reset Plus dot com. Got it all there. Got it all there. Y 'all bodies, man, because they're not going to tell you what's right for you. they gonna 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 using to doing the right thing. Keep in mind, a few months ago, maybe seven months ago, I was 267 pounds. I lost 67 pounds, 60 pounds in two and a half months. Congratulations on my brother, congratulations. Congratulations. So I've been on my health shit since that incident.

1:42:29You know what I'm saying?

1:42:29Uncle Murda:With the cancer thing, how did you deal with that? Like mentally and spiritually? That's what I'm saying. Like dealing with that. You gotta be careful, kid. you gotta put that in the back of your head murder because doing all the work i was doing if you worrying about that you won't be able to work you know what i'm saying 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'm supposed to do on time and when i got rid of it the doctor had said to me you know kid like i'm glad that you he was like i want to congratulate you he's You'd be surprised how many people were canceled and come back three months later, four months later, they didn't have much further.

1:43:07Now 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 God blessed me to be good. God is good, man. That's when I say, I'm gonna just do shit 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. He just got rid of his cancer. He was buying my herbs from us. Oh, look at that. Right, so it kind of helped him along the way.

1:43:39Tony Yayo:Be careful with that, though, kid. You know, doctors, once you start doing that shit, niggas come hit me. Hey, man, come see me. Corporations come hit you with the... Come and see me. Word. Dr. Sebi, all that shit. What you niggas be like, yo, I'm doing something with Dr. Sebi. Don't do anything. Hey, man. Shout to that. And they in Houston. I fuck with they shit. You just got to be careful with that shit. I don't think so. Nigga, you don't see what's going on. You ain't see all of them like - I see everything that's going on. Listen, so look, y 'all ain't see how all these nuclear scientists got smoke like all these niggas, the astronaut niggas.

1:44:14Tony Yayo:Why you putting this shit out there? I don't give a fuck. Niggas can smoke me, nigga. Damn. Damn. But all these nuclear scientists, you don't want to talk... You was talking about healing niggas, nigga. Yeah, you talking about - They gonna hit you, nigga. I'm trying to heal. You trying to kill him. Yeah, we're too healing. I'm talking about, look, there was a whole bunch of scientists that got hit, like mysteriously, like dying and missing. Like, so once niggas start talking about healing niggas, I got the herbs. Don't go to these companies. Man, fuck that. Herbalresetplus.com. Herbalresetplus.com, man.

1:44:43Tony Yayo:Fuck it, fuck it. Nacoroot, shady root.

1:44:46Uncle Murda:That's right. You know, sarsaparilla. Yeah, it's crazy, man. Soursap. That's right. Da-da-da-da-da-da. Go get your shit healthy. All that good stuff, man. All that good stuff, man. All that good stuff, man.

1:44:57Tony Yayo:Yo, we got the world's greatest DJ here. Make sure y 'all like, share, 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. You Turbulence Tony, man. You been drinking too much of that Branson. You been drinking too much of that Branson. Shout out to 50 in the Branson, boy. That's what it is. Go ahead, who it? Sign out, motherfucker.

1:45:19Uncle Murda:This is your boy, Lillian Jet Lenny. We got Kid Capri in the building. The legendary Kid Capri. Yo, take your ass to that YouTube and watch those videos I got up there. Don't play yourself. Kick it pre 101 on Instagram, Twitter. Oh, yo. That's right.

1:45:32Tony Yayo:Oh, hold on. We forgot about his daughter music, too. Talk about that, too. Oh, shit. Vina Love, shaking. Vina Love is doing her thing. Make sure you go to her page and look at all this shit. She is rocking crazy. Matter of fact, that's her artists of the week.

1:45:45Uncle Murda:We sound fucking out. Hold up. And my boy also got inducted to the Bronx Walk of Fame. Oh, shit. Shout to the BX, man. The Bronx Walk of Fame, my boy. Bronx created the product. The Bronx created the game.

1:45:58Tony Yayo:Walk of fame. Bronx created the game. Walk of fame.

1:46:06Uncle Murda:Good luck surviving the offseason, football fans.

1:46:09Tony Yayo:At first I was afraid. I was petrified. Football's over. It's like a part of me just died inside.

1:46:18Uncle Murda:200 days till football's back. But tonight I won't just cry. Cause I've got a ways to play.

1:46:23Tony Yayo:And that's the place with hard rock bet I will survive.

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