The Real Report - Paul Rosenberg & DJ Whoo Kid on Eminem’s rise, 50 Cent & G-Unit era, ICONIC Jay-Z & Dr. Dre stories

23:56Tony Yayo:He should have got down with us. What did that feel like? Oh, it felt like, yo, you could never get a high like that again. Because I'm in the shock program at this point. We signed with Eminem. Like, even the first, when 50 signed, I remember being in Theo's office. And that's when Cristal was, like, popping. And it was on the phone. And I think it was me, 50, Smurf, somebody else. Banks, maybe? I think Banks was there too at that time, but it was only a couple of us in Theo's office. And Em was on the phone and he was like, yo, we about to do it. We about to sign. He signed, Chris style pop.

24:34Tony Yayo:Wow. And like, I just remember everything. So for me. And then how many days later were you locked up? Remember, I was on the run for a good while because I never wanted to go to jail. I was like, well, I'm going to go to jail. We signing with Eminem. Missing that tour. This is crazy. You know what I mean? Dr. Dre, Shady Aftermath. Within a few months, right? Yeah, it was like, yeah, probably within a few months. What'd you say? I would say like a year. You got caught at the infamous, what's that? Spanish? Because you got to go to Italy. Coco Cabana. Coco Cabana. When I came back to New York, that's when I got caught up.

25:07Tony Yayo:If I would have stayed out of New York, like been overseas with you guys and y 'all didn't know, I would have been good forever. Well, is it safe to say that? Because he was cool with being on the run. It's when he heard Eminem is going to be in Barcelona. He was like, fuck that. He took his brother's passport and took the opportunity to fucking hang out with him. So it got you out, but it didn't get you back. Basically. Isn't that crazy? That was crazy. And somebody from the office, I'm not going to say no names. Yeah, oh my God. My first day getting out, they put the passport and the paperwork.

25:41Tony Yayo:And I'm so excited. Y 'all had the steakhouse for me. It was night. Wow. I don't want to say no the name. I don't want to say, I don't want to say the name. We just made hooky it though. I know. Don't do that. All right. Look at Paul. Okay, Paul. I'ma stand there. Okay, Paul. Paul don't like that. Paul don't like that. They put the passport in there mistakenly. Oh, it was a mistake. Okay, okay, okay. Look at my face and my brother's name. So it was kind of idiot move. All right, got you. You know what I mean? Passport was no good. So I'm so excited. I'm not looking even into paperwork. I'm just like, fuck it.

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28:56Tony Yayo:and mind you we selling hard copies oh yeah it's not no that's why i asked about the mixtape first stream because we're selling hard copies what you think about that paulie the mixtape like the hard copies versus streaming and all that right now well i'll tell you what this streaming saved the music industry because if you recall around 2015 right when streaming was was starting people weren't buying albums right everybody was getting stuff for free and there was no streaming so there was no money pouring into the business at all right wow so all of a sudden streaming comes along people start getting used to the idea that they can pay 10 bucks a month or whatever it was to get everything, the whole history of recorded music, right, at their fingertips.

29:44So it's really, you're paying for the convenience of not having to download music, put it into iTunes, make sure it's labeled correctly, make your playlist, like you don't have to do any of that. It's all right there, right? So people were, it turns out, were willing to pay 10 bucks a month for that convenience and for that service. and you know when before we had people buying cds maybe you know every other month or you know five times a year crack you got to go buy them cd again if you really like it yeah but they weren't they weren't they weren't buying one every month necessarily but now you know you have people locked in to pay that 10 i think now it's 12.99 whatever it is a month right right and people kept adopting it streaming numbers went up and up and up the audience grew and all of a sudden the industry's making money again.

30:33Right. So it saved the music industry. And, you know, at the time before streaming, the music industry revenue had decreased to 50 % of what it was. Most industries don't survive that. You can't survive a 50 % decrease in revenue, but somehow, you know, they held together and the major labels stayed together and, um, they made it through. So it really saved things in a lot of ways. And I know people complain about streaming rates. The artists get paid off of it. But the same people complaining about that weren't really selling CDs either.

31:14Facts. Oh, look at that. That's crazy. That's a hard fact right there. So of course the artists who are the biggest are going to make the most money because they are listened to the most. You know? is it entirely equitable could it be better probably but it's not terrible got you I saw an interview the other day with what's his name from Black Eyed Peas I know easy for me to say right but still wasn't that from Black Eyed Peas nah but I think

31:41Tony Yayo:you broke it down I think people gonna find that you broke it down right there I think I'm definitely like that so Will.i.am the other day he was like I think when he first met Jimmy he was like you know maybe one day you'll be one of these artists So he compared Eminem as the guy that keeps the building on. But when you found 50 Cent, was that like another jackpot hit? It was lightning striking twice in the same place. Holy shit. And that doesn't happen. But it happened. Lightning struck twice in the same place. I mean, there was a moment where, I mean, I'll say it, 50 was bigger than Marshall was.

32:20Wow. There was a moment that that happened. And, you know, we were thrilled because, you know, 50 was our artist, us and Dre. Of course, of course. But that kind of success and that level of popularity and sort of worldwide notoriety doesn't happen twice in the same place. Right. You know, how did you and Em hook up with Dre? How did that connection, like, first start? Yeah, so Marshall was out in L.A. doing something called the Rap Olympics. And it was a rap battle put together by Wendy Day from the Rap Coalition. Okay. And this was in 97, I believe. And they were putting teams together, and Wendy had her Rap Olympics team, and they were going to battle in different teams, which is why they called it the Olympics.

33:15but then there was also an individual battle and Marshall entered the individual battle. He got up all the way to the finals and he lost to a dude, um, from LA named otherwise. And he sort of was, you know, a hometown favorite. Um, and Marshall choked a little bit. This is all really well documented. Okay. So afterwards he was really depressed because the grand prize of the battle was like a Rolex and$500, which at the time. That's crazy. He was being evicted. He didn't, he didn't have, you know, two nickels to rub together. Gotcha. And that would have, you know, changed things for him. So he was, he was upset.

33:55He was at the bar. I was with him and these dudes came up and they were like, yo, do you have any music? We really liked, you know, what you were doing up there. And so he had, you know, a promo copy of the Slim Shady EP. And he gave each one of them a copy, two different guys. One of the guys, his name is Dean Geislinger. He worked in Jimmy's office. He was one of his assistants. And then another guy worked in Tom Wally's office. And his name was Evan Bogart. So I stayed in touch with those guys. I got their number. And as things started to continue to develop and Marshall's buzz grew, we put together a trip for him to come out to L.A.

34:34to meet with labels. And I may have gassed the story up a little bit, right? and i said i said yeah you know um marshall's going out we're we're about to close the deal with whoever sony i can't remember what i said um if you guys want to take a meeting um you know it's going to be your last opportunity so dean and and evan finally had the the the courage to bring marshall's music to their bosses and you know dean brought it to jimmy and um he said uh you know there's this kid i've been checking him out i've been following him i really think you should you should check it out they have a deal on the table um which we didn't but good one i know man worked out look it worked out it worked out paul it worked out so jimmy brought the cassette with him home and he um used to listen to music in his gym when he was working out and dre was over there one weekend um and he was going through you know his bag of tapes and he saw m &ms and he was like who's this and jimmy said oh i you know it's this kid one of the guys gave to me you should check it out.

35:37So Dre takes the tape home, listens to it, realizes that he was familiar with it because he heard Marshall when he was in town doing the Rap Olympics rhyming on the Wake Up Show. Didn't know who he was, didn't know he was white, but thought he was good. Heard the tape and he was like, oh shit, this is the guy I heard on the radio. So he went back to Jimmy and he said, bring him out here. I like that. Look at that. And that was it.

36:03Tony Yayo:That's crazy. Who kid? You remember going to Jimmy Alvin house? That's how I got caught. What? Because I was hiding. I told Paul earlier like. What? In Jimmy Alvin house? He said that he was running around hiding because we were all looking for him because he was stealing everybody's music and releasing it early. And he knew we were all upset with him. Who cares? That's how his mixtapes, aside from the fact that he had the exclusive 50 Cent freestyles, he would get music early and put them on these mixtapes. I mean, you know how I did it. I would wait. It was really like Ocean's Eleven. So I knew all like Right Track and all the like, you know, Chunk King.

36:39I knew all the - Chunk King,

36:40Tony Yayo:you brought it back. Hey, the engineers. Yo, so all the engineers will call me and be like, oh, Jay-Z got a block from 12 to 6. I know Jay-Z ain't going to be there all night. He'll probably leave at 4. So I'll get there like 2 a.m. and I'll park. I see Memphis Bleak, everybody coming out, Beanie. And once they come out, see ya. See ya. $500. Get that hard drive. But what they do is they record the whole session. So even when Jay-Z's talking, everything, do it over, fuck him, it records. So I just got to go through, you know, the dat. That's old school too. It don't matter. A 90 minute dat, you got to go through all that.

37:15So he walked out of the studio with a dat for$500 and you didn't know what was on it? Yeah, I would take it and go through the whole thing. There you go.

37:24Tony Yayo:DJ secrets right there. Crazy. And then, you know, there's so many dats that I heard real conversations. If I leaked those conversations, I wouldn't be alive today. You still have those? They're somewhere, yeah. I have old, old dads. That's all I got. We could definitely use some of those for the real report. We know everything costs. It's all good. We got a nice check. Shout out to the value.

37:47He's the first DJ that I ever saw. He bought a Lamborghini off of mixtapes. You remember that? He had a yellow Lamborghini. I used to put the tapes in the front. And he'd sell mixtapes as his income. and sold enough mixtapes and made enough money off the mixtape game to buy a Lambo. Look at that. That's crazy. I never cared about the Hot 97 checks. I was like, get that shit out of here.

38:14Tony Yayo:You wasn't really on there too long. $78. You had a short run on there. He always said radio don't pay him over there. He didn't care. That's why I was, because thank God he heard me one day wallowing out. I did Crackhead Mondays and then I had Bobby Brown call up, but he didn't know it was Crackhead Mondays, so Paul was dying in the car. and then he's like yo this guy gotta he gotta be a host on the channel they were about to buy so that's how I got hired but you know how I did G-Unit Radio G-Unit Radio was the best that was classic classic hip hop at that point when Clue left hot that's how I got that Monday spot yeah definitely I remember that but R.I.P.

38:53Chris Lighty the way I leaked like any record like if I did a song with 50 like the Biggie in 50 or the Tupac in 50 the Biggie in 50 was like the more like you know if i get caught they'll kill my ass so what i did is uh when flex gets off i waited my show was 10 to 11 right so at 10 55 i set it up where i pressed play but my brother had the car running downstairs and there's always like a secret elevator at hot night seven if you're gonna get beat up you take it you know like if he knows wait for you or whoever's outside waiting and they beat up the dj but i played the song there's a back secret elevator that's getting out So 1055 to 11, I play Biggie and 50, realest killers.

39:36So I'm gone. I'm not up there. He the realest nigga. Yeah. So, you know, Diddy, whatever his name, Puff, whatever his name. He's in the studio. Can you imagine your Puff daddy? You never heard a Biggie verse? Like, you didn't hear that. I always wonder where that verse existed. He's never heard that verse. That's crazy.

39:52Tony Yayo:Yeah, I remember where that record. I remember that. Yeah. I was like, where did that record even come from? That was crazy, bro. So Puff never even heard that Biggie verse. Where'd you get it? You telling me not to snitch, you want me to snitch now? So you got it the same way? From dats, from just like, so the thing is, I would steal the dats, because you know, I think - Did that record ever get cleared? Did that record get cleared? It got cleared. It got cleared, yeah. I mean, I leaked it, it was too late. Wait a second. Before you said you were paying engineers, then you just said you stole them.

40:23Which is it? So paying is when I go to the studio and then I, and then I, and I pay to get the recorded session. Stealing is I go, you, you, thank God you had shady records. So you had to really physically be there. Yeah. We had that shit locked down. It was locked down. So you weren't allowed there anyway. Shady records was like, yeah. He wasn't allowed. Oh shit. Bro, when I had to, it's like going to the Vatican. I had to take off my phones, passport, everything. Was it because he had a reputation? Of course. We called him Scooby-Doo. Because every time you said something, he'd be like, huh?

41:03It was on a Russian website. Got you.

41:07Tony Yayo:Scooby-Doo is not allowed in the building. Pun snatched. Period. From music. But Shady Records, they had a separate entity, so I couldn't go in there. But Universal, Sony, Warner Brothers, I just go up there. Who's up there? The Mexican lady vacuuming. I look, I know racism, but I look like a black A &R. So I just walk, I go to everybody's room. You got to remember this, Merck. Back then it was a tight system. So you notice like a lot of Eminem, 50 Cent Records, Dr. Dre, them things really wasn't getting leaked. Like hell no. They were the hardest to get. That was just crazy because that's when records were exclusive.

41:44Tony Yayo:I love streaming, but back then a record was exclusive. You might have one DJ that has this record first. He used to, he going to rock it for what? I learned that from DJ Clue, you know? So wait, you would walk around the offices and go in people's offices and steal dats? So because nobody locked the offices. So I look like a black A &R. I would dress like, I would wear like a button up. I look like I went to church, but I look like those corny A &Rs they had up there. And I just walk around and then the Mexican lady be vacuuming, she looks at me. Hey, papi, mommy, whatever. And I'd be like, and then I just go and I'm there all night.

42:16I'll turn the light on and then all, you know how you have the dats packed up? all I gotta do is see oh Beyonce featuring Q-Tip

42:24Tony Yayo:I'll just take that anything that has a feature because back then R &B ran the world like hip hop needed R &B to live like Jay Z and all them they had to like ride off of R &B you know until we came and changed the whole algorithm where hip hop is here to stay but back then everything was R &B so if you go to Sony I would just wait to see featuring Jay Z that's how I got the Sade and Jay Z song so I'll see Jay Z, Sade take that so So out of courtesy, out of courtesy, I would record it. Who kid was out here stealing these records? But sometimes I'll just take it. A &R's lock your offices. A &R's lock your offices.

42:59But yeah, this is it right here. You just hold it. Wait four or five months. And I just do that with Dre. Dre go takes a leak. I'm like, hurrying up, trying to get the song from Dre. And I just leak it like a year later. I saw Dre at Super Bowl. He's like, yo, this fucking guy. Him and Jay-Z was telling. I tried to, yo, this is a true story. Legalization. Shout out to Curtis. Curtis saved my life in Super Bowl. I tried to, you know, when Jay-Z was coming through, they have a, what do you call a blowhorn?

43:28Tony Yayo:You talking about Curtis Battle, Big Curtis? Yeah, Big Curtis. You know, he's the production for Super Bowl. Somebody was trying to get out to Curtis. No, so when Jay-Z comes through, somebody with a blowhorn be like, Jay-Z coming through. Like, you know, so they clear the, you know, the area, you know, where we were at. And with the, you know, all of us had our own, like, cubicle. Compound. Yeah. So when Jay walks through, they just scream it. So he just walks through. So it was too far to get to M's joint or 50's room. So Jay-Z wouldn't see me. So I try to hide behind Curtis. Because Curtis is like 20 feet tall.

44:00You know what I'm saying? So I'm hiding behind Curtis. And Anderson.Paak was like, you all right? I was like, bro, just give it like five minutes. Once he passed by, then I'll just, once I get to M and M's room, nobody's going to touch me. You know what I'm saying? I'm good. If I go to 50's room, nobody's definitely not going to touch me. Because, you know, the issues with him and Jay. So, all I hear, I turn around and I hear, yo, that's who kid over there hiding behind Curtis. And then Jay-Z's like, yo, man. I was like, what? So, Dre's coming at the same time. That's why I got it on video. And then you can see, like, oh, he robbed you too.

44:33Oh, here's Dre. Oh, he robbed you too, Dre? Yo, I was like, this nigga's getting out of here.

44:37Tony Yayo:That was on Jay-Z 50 tour? No, no, this was the Super Bowl. Super Bowl with him, Dre. Oh, the Super Bowl. Yeah, I was the only guy. And Kendrick and Marshall. Thanks to this guy. And Mary J. Blige. First of all, thank you. Because, you know, thanks to this guy. I'm the reason I was there. He was not the invite. Oh, I got you. He was our guest. Got you. Okay. So imagine during - So you invited the thief. We know better now. Okay, got you. We don't have shit laying around. All right, got you. It's okay. All right, got you. Got you. He know what time it is. Imagine during COVID and you're stuck in a bubble.

45:08Plus he's reformed.

45:09Tony Yayo:He's reformed. I'm good now. Yo, you can put Eminem's on right here. I'm like, I learned. I listened. Because he knows he'll get fired. He said, I stole enough that I came up. I'm good. I don't need to do it no more. Plus, the game's different, right? The game is different now. The exclusivity doesn't exist. Once a record's out there, it's everywhere. It's everywhere. Back then, it was on your mixtape. Yeah. You were the only, it was the only place you could get it. Because you get to talk over it. Certain things, when you're a DJ, you say little things over the record. And other DJs can take it.

45:36But by the time they put their mixtape together and they got that there, everybody's already bought Who Kids mixtape. And it was the only place to get it. And I was knowing, like, if I stole Uncle Murder's, like, some song he did, like, months ago, I won't tell Uncle Murder. What I'll do, I'll put it out. And if he has a title, I'll change the title. So I'll even trick the public. So I'll call it, like, Kill a Nigga Remix, Uncle Murder. But it'll be, like, a different name. So that's my, I had DJ Clue was, like, you know, Clue was everything, man, back then. I hated going everywhere. Oh, we got Clue.

46:07We don't need your tape. We're good. I had to find a way to fucking bypass him.

46:11Tony Yayo:Like I got some shit Clue don't got. I feel like Clue stopped the, because it was all about mixtape, like the blends. Like you had Grandmaster Big, Dog Time. And then when you came with Clue, he was just, it changed into exclusive, just playing the exclusive record on the exclusive. I mean, he leaked Biggie. He leaked One More Chance. Biggie's biggest record. One verse and a hook is all a DJ would need. Oh, Clue did that. Clue leaked that. Biggie went on Hot Night 7. I was like, who is this guy? I'm ready to kill him right now. Oh, that's right. I remember. So that made us like adrenaline rush.

46:43I want him to try to kill me. Like, cause back then, like I said, there's no social media. So imagine you're like a street legend with a rumor like that. Like Biggie's looking for you. Everybody's talking about that. We know YouTube, nothing. So that makes you like, you're in the system. That's why there's only like five top DJs you can say. Like, you can say me. You can say like Envy. You can say like, you know, drama. You can say like K Slay, RIP the Dead. Like we're part of that system. That's a fact. that's in the DNA of everybody that's hip hopped out.

47:13Tony Yayo:Rob Markman - Yeah, because before that, it was Grandmaster Vic, you had Dogtime, everybody was more doing blends, you know what I'm saying? And then Clue - Rob Markman - Dirty Harry. Rob Markman - Yeah, he was the first dude - Rob Markman - Doo-wop. Rob Markman - To play this. Rob Markman - Doo-wop. Rob Markman - Yeah. Rob Markman - Yup, he was the first dude to start kind of playing exclusive, because I was a fan of Ron G. Rob Markman - Ron G, number 10. Rob Markman - Ron G, you should be on it, yeah. Rob Markman - Classic, you know, hip hop. Rob Markman - I mean, Kit Capri did the first - Yeah, Keith Capri, of course.

47:36He did the bad boy stuff back in the days. And that's why it made me get into it. But Clue lived two blocks away from me. So I had to get into it. All you Queens guys. Queens, baby. No Brooklyn today. No Brooklyn today. No Brooklyn today. Let me ask you this, though. Because now the DJs, like all the names you're talking about, you're all, as the kids say, you're all unks now. Yeah. And I love that term, by the way. It's so much better than being an old age. Old age. Yeah, man. Yeah, yeah, yeah. Like, OG is cool. But it's respectful. Of course. Of course. Anyway, I digress. So all these older DJs, where are the new ones?

48:15Where's the new kids? Because, like, when we have Shade 45 and we're looking at, like, okay, we got some space. We want to hire somebody new. There's no new who kids, right? There's no new kids that are coming up doing that. It took 20, 30 years to get, you know, why? But at a point, you started popping, you know, 20 years ago. Right? When you were much younger. Where is the young guys that are popping now? Is it even feasible or is it a desirable thing for them to want to be a DJ? It's so easy to get the music. I feel like it's hard.

48:49Tony Yayo:It feels like now there's a lot of good music out there, but it feels like it's microwave music. So it's like. That's true. Like when you look at Eminem, you look at Snoop Dogg, you look at Dre. To me, it's timeless music. So if we go to Apple, you're going to see Eminem is still Spotify. He's still number one, still 50s, number one on YouTube. To me, it's timeless music. I think what Who Kid did is timeless. Like the mixtapes we did, I remember like it started from the first one to the second one. And everywhere we went to, when we go to Jamaica Avenue, the Coliseum Block, rest in peace to the Coliseum Block too.

49:26Tony Yayo:Where we go to Hot Wax, me and Banks was like stars already. everybody didn't know who kid was a star already like I was happy with just that in the beginning because it was big what he did in the streets so for me I don't think too many DJs could just replicate that time and do that again so the time is different and it's more probably more lucrative for guys with personalities and that kind of drive to do other things right like those are probably the YouTubers and the social media guys right those are the big guys like a guy like Drewski he he could probably have been an amazing DJ. Of course, because of the personality and all the things he do.

50:05Right. Kai Sinat, all those guys. That's probably where that kind of talent goes these days. Right. But these guys ain't trying to find a 50 Cent. They're not trying to find an artist. Like, I was, I had planned B, C, D, E. Like, I hung out with Snoop. I hung out with Yale. And if that shit don't work, I'm going to steal these guys' records. Yeah. I had legendary clicks. Maybe I'm lucky. Maybe I'm a unicorn. I mean, come on.

50:28Tony Yayo:You had Samuel Jackson and Chris Rock and - But that's how I upgraded because if I'm up against Clue, I was like, you know what? I'm just going to get the actors. I'm going to get like, because nobody's asking them. I started with the label execs. I had like Leo Cohen. Come on, you had LeBron James on our tape. Everybody's doing drops. That's what made it big. We had Samuel Jackson. This guy had Marford Stewart. Everybody has a legend. When it came to shape, Eminem and what he built and the empire he built was so big that people were willing to come - They gravitated. Rob Markman, They just want to be near hot shit.

50:59Tony Yayo:Rob Markman, We talking 16 million records worldwide, hard copies. That's when you had to go in the store, FYE, Best Buy, you know - Rob Markman, And really buy the music for real. Rob Markman, You pay for your promo picking it. I learned everything from being around Interscope, Shady, Aftermath, Violate - Rob Markman, You know what I saw the other day? Tony Hawk hosted the tape. I forgot about that. Rob Markman, See that's what I'm saying. Fucking Tony Hawk. They had LeBron James. I did so many tapes, I forgot. Rob Markman, Look at that. It was like, and it turned into a worldwide thing. And I always say, and 50 always says it.

51:31Tony Yayo:Because, you know, like, that was the best deal we ever saw in our lives, bro. Because the science behind getting a celebrity like that is, especially Canal Street was the hub to buy mixtapes back then. Yeah. If you're coming from Paris or you're coming from Germany or whatever, if you go to Canal Street and, you know, you see tons of tapes, Ron G, you see everybody. But if you see Who Kid hosted by Robert De Niro, you're like, what the hell is this? because I would steal the same songs Clue had. I had to have like a different edge. So if you hear Robert De Niro on there talking about fuck that shit, let's go drop that dick.

52:06Classic. So that makes it like kind of like a souvenir to keep. You know, you see how Eminem loves cassette tapes. Like that's how it was back then. There's no, nobody has anything tangible anymore. Like I need to remember this time, this moment. And when you see that tape, it just brings you back to that. Kids don't have that now. Yeah, but they want it. them they want it which is a big part of the reason for the resurgence of vinyl exactly because kids they they buy vinyl because they want to own something from the artist i i read a statistic i don't know the exact number but a large number of the vinyl bought at a place like urban outfitters that has you know a whole vinyl selection the kids don't have record players they sell more record frames than they do record players because they hang them on the walls they just want something from the artist they want something tangible because otherwise they don't have it like you know all the stuff on their phone is is fleeting they want something permanent that they can hold that connects them to the artist that's why our age demographic respects hip-hop more because the kids are getting it so fast they can't remember what was last year's hit but when we get it we waited online at Tower Records.

53:19We got the autograph from Nas. We bought the poster. I was talking to what's his name? Ice T the other day. I had his first baby model with the gun, with the shotgun. That's a classic poster. There's no more there's nothing to be like you come home from high school and you see people you look up to they don't do that no more. Run DMC is the reason why I wore Adidas. Who's doing that? Besides certain artists now, people follow their fashion sense. but it's more like I'm not gonna diss it so bad it's kinda like a dick rider thing because of social media pause pause they just ride whatever's the way back then it was it was very cultural the fashion was life like hip hop was life back then people did that to get out the hood like to survive so they respected the music more it was everything like even getting in the clubs back then the tunnel underground like definitely the tunnel was big all that you see all these classic rappers from back then like You remember the tunnel search when you got - What?

54:18Oh my God. Tunnel had the most - It was like more serious. I've never been to prison, thank God. It was like more serious than that. Take your boots off, open up your mouth. You couldn't even wear a chain in the tunnel back then.

54:30Tony Yayo:That was crazy. People were getting killed in there. No chain. They had the no chain rule after a couple of years. Wow. Remember when 50 did, How to Robbin' it? It was crazy. Bro, Peter Gation told me like, almost like a couple of times a month, they'll find like somebody that, you know, because back then they stabbed people. So the club is so big, you have to wait till the night is over. Then you see like a random dead body. Like, it's crazy back there. But you don't wear coats. That's why they stopped letting people wear like, you know, shirtlings and fucking, what do you call it? V-neck gooses?

54:58Because people were stabbing and robbing those. V-neck gooses? Remember that? The V goose? The V-neck. What? You know who Chase is? I know triple fat goose.

55:06Tony Yayo:I've never heard of V-neck gooses. V is like, it's like the color, but the V would be like white. It'd be like a V. The V-neck gooses. I know what you're talking about. Oh, yeah, yeah, yeah. Like a varsity jacket. I know what you're talking about. Like a varsity sweatshirt. That wasn't like the varsity. I just had the V. That's why they call it V-neck goose. I know what you're talking about. And I remember that I saved all my money. I tricked my father acting like I had all these road trips and school trips. And then they were fake. Like, I would make fake food just to buy the coat. And then I'm getting chased by Steve Stout.

55:34This was back in the day. Steve Stout was like a bully. So he would chase us little kids all over Queens. And then he's trying to get my V-neck goose. What? Him and a... Yo, it was crazy. This guy's a bully, yo.

55:44Tony Yayo:That's crazy, bro. What did he turn into this guy? V-neck gooses. V-neck gooses. That's crazy, man. That's another episode on The Real Report. See ya. We survived. Paul, you good.

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