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

Summary

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Joe and Jada Podcast

Episode: The Real Report - Paul Rosenberg & DJ Whoo Kid on Eminem’s Rise, 50 Cent & G-Unit Era, ICONIC Jay-Z & Dr. Dre Stories

Date: April 4, 2026
Hosts: Fat Joe and Jadakiss
Notable Guests: Paul Rosenberg, DJ Whoo Kid, Tony Yayo, 50 Cent
Produced by: iHeartPodcasts and The Volume

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Episode Overview

This energetic and revealing episode reunites hip-hop icons to take listeners deep into the creation of legends: Eminem’s origin story, 50 Cent’s breakthrough, and remarkable behind-the-scenes moments with Dr. Dre, Jay-Z, and the G-Unit era. Anchored by classic personalities—Paul Rosenberg (Eminem’s manager and longtime collaborator), DJ Whoo Kid (legendary mixtape DJ), Tony Yayo, and 50 Cent—the hosts unravel historic moments, industry secrets, street stories, and the evolution of hip-hop from the gritty mixtape hustle to the digital streaming age.

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Key Discussion Points & Insights

1. How Paul Rosenberg Met Eminem

• (03:39 – 07:32)
• Rosenberg recounts first meeting Eminem through Proof at Detroit’s Hip Hop Shop during law school. Proof introduced Em as “a white boy who can rap,” but Rosenberg initially found him “good, really good, but not yet great.”
• With time, Eminem discovered his unique voice, prompting Rosenberg to commit to managing him.
• Quote:
  • “Did I think he was the best thing? I know he wasn't there yet.” – Paul Rosenberg (05:38)

2. Mixtape Era vs. Streaming Era

• (07:32 – 09:06 & 29:16 – 34:09)
• DJ Whoo Kid reflects on the significance of mixtape culture—physical tapes not only changed lives but were a survival tool for many; streaming, in contrast, democratized music access and revived industry revenue but lost its tangible connection.
• Paul Rosenberg describes streaming as a lifesaver for the industry, stabilizing the business with monthly subscriptions while acknowledging that most artists complaining about streaming revenue weren't CD superstars either.
• Quotes:
  • “There’s a difference between music and a movement where it’s, like, global.” – DJ Whoo Kid (08:01)
  • “Streaming saved the music industry... At the time before streaming, industry revenue had decreased to 50% of what it was.” – Paul Rosenberg (29:27 & 30:31)

3. Discovery and Signing of 50 Cent

• (09:06 – 10:46, 32:22 – 33:00)
• Rosenberg explains hearing 50’s early work (“Guess Who’s Back?”) via 50’s rep, Theo. After being impressed, he passed the tape to Eminem and Dr. Dre, leading to 50’s signing.
• Describes the surreal moment where “lightning struck twice”—the only time an act (50) matched or surpassed the global popularity of another act (Eminem) in such short order.
• Quote:
  • “There was a moment where... 50 was bigger than Marshall was.” – Paul Rosenberg (32:38)

4. How Eminem Connected with Dr. Dre & Interscope

• (33:00 – 36:19)
• Eminem’s fateful loss at the 1997 Rap Olympics led to his demo falling into the hands of industry insiders, who ultimately played it for Jimmy Iovine and Dr. Dre. Dre remembered Em’s talent from the Wake Up Show and called for a meeting that launched Eminem’s career.
• Quote:
  • “Jimmy brought the cassette with him home... Dre was over there, saw Eminem’s tape... listened... said: bring him out here. I like this kid.” – Paul Rosenberg (35:34–36:19)

5. The “Free Yayo” Movement

• (18:13 – 20:00)
• Tony Yayo describes being incarcerated during the rise of the "Free Yayo" campaign. Eminem and others wore "Free Yayo" shirts at the Grammys, creating a powerful cultural moment and giving hope to Tony, who witnessed this from jail.
• Quotes:
  • “That was the most amazing thing in my life. Cause they could have forgot about me. I was in jail, you know, it’s music business. But to me, it always felt like a family.” – Tony Yayo (18:51)

6. DIY Ethics, Bootleg Hustle, and DJ Whoo Kid’s Escapades

• (12:10 – 16:55, 36:26 – 43:17)
• Hilarious and revealing stories of DJ Whoo Kid sneaking into label offices, forging relationships with studio engineers, and acquiring unreleased Jay-Z, Dr. Dre, and Biggie tracks—sometimes by paying, sometimes by stealth.
• He recounts leaking legendary tracks and the “cat-and-mouse” game to avoid retribution from industry execs.
• Quotes:
  • "I would walk around the offices and go in people’s offices and steal DATs... I look like a black A&R… nobody locked the offices." – DJ Whoo Kid (42:17)
  • "I used to put the tapes in the front of the Lamborghini." – DJ Whoo Kid (38:14)

7. Mixtape Legacy, Exclusivity, and Changing DJ Culture

• (46:00 – 52:14)
• The panel reflects on the golden era of mixtapes—how exclusivity gave DJs major street credibility and how the rise of the internet changed the game.
• DJ Whoo Kid and Tony Yayo discuss the scarcity of new young mixtape DJs, with most talent now leveraging YouTube and social media instead.
• Quotes:
  • “You know, Kai Sanat, all those guys—that’s probably where that kind of talent goes these days.” – Paul Rosenberg (50:22)
  • “The time is different… more lucrative for guys with personalities… those are probably the YouTubers and the social media guys.” – Paul Rosenberg (50:03)

8. Timelessness vs. ‘Microwave’ of Modern Music

• (49:07 – 50:03)
• The hosts and guests critique today’s “microwave” music, contrasting it with the enduring quality of Eminem, Dre, and classic G-Unit records.

9. Cultural Artifacts: Tangibility and Vinyl’s Return

• (52:43 – 53:27)
• The surge in vinyl among younger fans speaks to a yearning for tangible connections to the music in contrast with today’s fleeting, digital experience.
• Quote:
  • “They sell more record frames than record players... They just want something from the artist, something tangible, because otherwise, they don’t have it.” – Paul Rosenberg (53:13)

10. Classic Hip-Hop Venues & Survival Stories

• (54:10 – 56:10)
• Anecdotes about legendary NYC clubs like The Tunnel: rigorous searches, no-chain policies, violence, and how cultural touchstones shaped and sometimes endangered the scene.
• Quote:
  • “Like, remember the Tunnel search? It was like, more security — I’ve never been to prison, thank God — it was like, more serious than that. Take your boots off, open up your mouth…” – Paul Rosenberg (54:33)

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Notable Quotes & Memorable Moments

• On Eminem’s rise and voice:

  • “He figured out his voice, he figured out his style, he became unique. He wasn’t trying to sound like other people at that point.”
    — Paul Rosenberg (07:16)

• On DJ hustling and survival:

  • “People were sold tapes to pay bills… Some guy didn’t commit suicide because of the music.”
    — DJ Whoo Kid (08:01)

• On streaming saving music:

  • “At the time before streaming, industry revenue had decreased to 50% of what it was. Most industries don’t survive that.”
    — Paul Rosenberg (30:31)

• Lightning striking twice:

  • “There was a moment where... 50 was bigger than Marshall was.”
    — Paul Rosenberg (32:38)

• On the golden mixtape era:

  • “When we go to Jamaica Avenue… Me and Banks was like, stars already… I was happy with just that in the beginning.”
    — Tony Yayo (49:49)

• On the tangibility of music:

  • “They sell more record frames than record players because they hang them on their walls.”
    — Paul Rosenberg (53:13)

• On club life and survival:

  • “People were getting killed in there… That’s why they stopped letting people wear… shearlings and… V neck gooses.”
    — DJ Whoo Kid (54:48, 55:23)

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Timestamps for Key Segments

• 03:39 – 07:32: Paul Rosenberg meets Eminem, Proof, and the Detroit rap scene.
• 07:32 – 09:06: DJ Whoo Kid on mixtape era vs. streaming today.
• 09:06 – 10:46: How 50 Cent was discovered and signed.
• 12:10 – 16:55: DJ Whoo Kid’s hustles, wild road stories, surviving on mixtapes.
• 18:13 – 20:00: “Free Yayo” shirts and the impact on Tony Yayo in jail.
• 29:16 – 34:09: Hard copies to streaming, industry profits, and changing artist income.
• 32:22 – 33:00: 50 Cent’s moment of surpassing Eminem.
• 33:00 – 36:19: Eminem’s connection with Dr. Dre and Interscope.
• 36:26 – 43:17: DJ Whoo Kid leaking exclusives, being “the thief,” and legendary studio stories.
• 46:00 – 52:14: Evolution of mixtape culture, impact of DJ Clue, and exclusivity.
• 49:07 – 50:03: Timelessness of classic G-Unit, Shady, Dre records.
• 52:43 – 53:27: The return of vinyl and the need for tangible music.
• 54:10 – 56:10: Iconic NYC hip-hop venues and survival culture.

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Themes & Tone

The conversation is raw, comedic, nostalgic, and unfiltered—filled with street wisdom, inside jokes, and palpable camaraderie. Guests openly discuss rivalries, industry tactics, and their unique contributions to hip-hop culture, underscoring the mix of hustle, loyalty, and innovation that shaped an era.

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Final Thoughts

This episode is a hip-hop masterclass in storytelling: It puts listeners inside the studios, back rooms, and crucial meetings where legacies were built and battles won. The narrative traverses from scrappy Detroit open mics to global stardom, illuminating the strategic moves, fearless authenticity, and vision that propelled Eminem, 50 Cent, and G-Unit into the pantheon of rap. The insights on music consumption, DJ culture, artist discovery, and the ephemeral vs. lasting nature of hits are invaluable for fans and future artists alike.

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Transcript

[Podcast Announcer]

This is an iHeart podcast, Guaranteed Human.

[Lily Herman]

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[Podcast Announcer]

Then she says, have you seen a

[Lily Herman]

photo of my son?

[DJ Who Kid]

And I'm like, who is this person?

[Host of Boys and Girls Podcast]

Welcome to the boys and girls podcast. Arranged marriage is basically a reality show, and you're auditioning for your soulmate. And who's judging? Only your entire family. I sacrificed myself to this ancient tradition, hoping to find love the right way. And instead, I found chaos, conf, comedy, and a lot of cringe. Listen to boys and Girls on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[DJ Who Kid]

Pause his word. I don't care. It's still a pause. Liquefying days.

[50 Cent]

That's another pause.

[DJ Who Kid]

Oily days. Shut the up with that, okay?

[Tony Yayo]

You get movies with. Years to talk in New York. Tony Yayo. That was dope.

[50 Cent]

This guy don't know you.

[Tony Yayo]

Don't know. Act like you was trying to name, not. Cause I was gonna go with the Turbulence Tony, but I was just something new.

[50 Cent]

Whatever. Whatever, man. Whatever, man.

[Tony Yayo]

That's the boy, Uncle.

[DJ Who Kid]

Hold up.

[50 Cent]

Can I say my name? I a forget my name. It's the boy Unc, AKA Land Jet Lenny. You know the vibes.

[Tony Yayo]

I'm turbulent and we Turbulence Tony. And this the real report live from New York City. Make sure y', all, like, share and subscribe. Make some noise for the infamous icon mogul Paul Rosenberg. You know what I'm saying?

[DJ Who Kid]

Oh, oh.

[Tony Yayo]

Eminem, Shady. Aftermath in the infamous. One of the best DJs in the world. I've seen the Duel Worldwide Tuning mixtape. He's been there from the beginning. Make some noise for DJ who King.

[DJ Who Kid]

You do it better than me. Whoa.

[Tony Yayo]

Yo, who who, kid? I can't believe I got this guy. Paul Rosenberg.

[DJ Who Kid]

I know. It's like. It's like kidnapped Rick Rubin. It's like you got a Tupac sighting.

[Paul Rosenberg]

I made him come for just for some cover, you know?

[Tony Yayo]

Definitely. Definitely. No, you know, I'm not gonna ask.

[DJ Who Kid]

I'm his lawyer. He started out as our lawyer.

[Paul Rosenberg]

I'll defer any questions that I don't really wanna answer to who?

[50 Cent]

Kidding.

[DJ Who Kid]

Oh, man.

[50 Cent]

Look at that.

[Tony Yayo]

Oh, no. Well, for me, you know, I'm just glad I got you guys here. Brings back a lot of happy to be here.

[50 Cent]

Appreciate you, man. Appreciate you, man.

[DJ Who Kid]

Congratulations, by the way.

[Tony Yayo]

That's the real report. Thank you. Shout out to everybody who's watching the first. Doing great. When I see you, I have flashbacks of me being on the run, like, with my brother's passport, and we was in Barcelona.

[Paul Rosenberg]

You got caught with your brother's passport?

[Tony Yayo]

Yeah.

[Paul Rosenberg]

You violated your probation.

[Tony Yayo]

Yeah, I had my brother's passport. And I remember being in Barcelona with you guys and Cigars and Theo and who? Kidding. Those were the days. Those were the days, man. Yo, Shady Aftermath. People don't, you know, they don't know how it feels to be, like, in the studio with greats like Eminem, Dr. Dre, and being around guys like you. Like, how did you meet Eminem?

[Paul Rosenberg]

I met Eminem through Proof.

[Tony Yayo]

Wow. Yeah.

[Paul Rosenberg]

So when I was in law school in Detroit, I went to University of Detroit Law School. I used to go to the hip hop shop on Saturdays, and it was Maurice Malone's store. You know, Maurice Malone Jeans. And so he had his store, and they used to clear out all the clothing racks on Saturdays, and they used to have open mics and MC Battles. And Proof was the manager of the store, if you can believe that.

[DJ Who Kid]

Wow.

[Paul Rosenberg]

He managed the store and he also would host the battles. So one Saturday, he pulled me aside and he said, yo, I want you to stay after I got a kid I want you to meet. I want you to hear him rap. And I was like, all right, cool, whatever. And he was like, he's a white boy. You probably don't know this, but I used to rap. Proof knew me as a rapper. So that's why he was.

[DJ Who Kid]

Hold on.

[50 Cent]

What was the rap name?

[DJ Who Kid]

Paul.

[50 Cent]

What was the rap name?

[Paul Rosenberg]

Paul Bunyan. So he was giving me the business as another white rapper. Like, yeah, I got a white rapper. So I was like, cool, you know, happy to meet him. And at the time, like, you know, I was supposed to be the guy who was gonna be the music lawyer for the hip hop artist in Detroit.

[DJ Who Kid]

Right.

[Paul Rosenberg]

So I was, you know, New Proof and New JD Everybody knows him as J Dilla. Right, right. J Dilla, Slum Village and all those guys. So I stayed after Proof cleared everybody out. And this kid walks in, and at the time, he had, like, a really, really Low cut. He was wearing a white sweatsuit. Kind of looked like, you know, a little schleppy, you know, a little scrubby. And I was like, all right. And he goes, you know, Proof was like, yo, throw on. Throw on instrumental. So he rapped and, you know, he was good. The. The, you know, heavens didn't part and the sun didn't shine down and think it was like the next.

[50 Cent]

So you wasn't that impressed.

[Paul Rosenberg]

I thought he was good. Okay, Right. I thought he was good. I thought he was good to really good. Did I think he was the best thing. I know he wasn't there yet.

[50 Cent]

Gotcha, Right?

[Paul Rosenberg]

So little time went on, and I used to come back every Saturday. And one Saturday, he was there again. And he was selling an album on cassette, right? Hand to hand for six bucks. And it was the Infinite album.

[DJ Who Kid]

Wow.

[Paul Rosenberg]

His first album. So I bought it from him for six bucks. And again, good. Really good. Definitely a lot of potential. But it wasn't there yet.

[50 Cent]

Right.

[Paul Rosenberg]

So I graduated law school, moved to New York, and I stayed in touch with everybody. And in, like, I think it was probably early 97, I was talking to who used to be my old dj, that was the same DJ that was spinning the records at the Hip Hop Shop. DJ Head. Not the same DJ head that everybody knows from la. A different DJ Head.

[Bob Pittman]

Right.

[Paul Rosenberg]

And he said, you have to check out the new stuff that Eminem's doing. And I was like, great, but I don't know how to get in touch with him. So he passed me his number and I called him up and I said, hey, do you remember me? And he said, yeah, of course. I said, can you send me the new stuff you're working on? Yeah, I'll send it to you.

[DJ Who Kid]

Cool.

[Paul Rosenberg]

So he mailed it to me. Remember, there's no mp3s, no nothing? No, no. There was email, but you weren't sending files, right?

[Tony Yayo]

Yep, yep.

[Paul Rosenberg]

So he sends me this cassette, and on it was like, just don't give a fuck, no one Zilla. A record called Slim Shady and just the two of us, the early version of it. So it was like the bare bones of what became the Slim Shady ep.

[DJ Who Kid]

Wow.

[Paul Rosenberg]

So then I was like, okay, you was impressed he's got it because he figured out his voice, he figured out his style, he became unique. He wasn't trying to sound like other people at that point, Right. So he had come into his own. So that's the beginning of the story.

[Tony Yayo]

Wow, that's a hell of a story. We got DJ who Kid one of the biggest DJs in the world. Mixtape DJs. Our DJ, my guy. What do you feel about the mixtape era versus the streaming era right now? What do you like better and what do you feel about.

[DJ Who Kid]

Kind of like, works hand in hand? Cause, you know, ever since I see a lot of rappers are using my drops, you know, bringing back.

[50 Cent]

Oh, they're using your drops.

[DJ Who Kid]

Clue. You know, I just did something with.

[Paul Rosenberg]

Because they want that energy, right?

[DJ Who Kid]

Yeah, it's kind of like a. You know, the unit thing. This. It's like something that they just, like, people grow with that. Like, it's kind of like, you know, Wu Tang was my energy to grow right to who I am. But to these young kids out here, they. They listen. They listen our mixtapes, which freaking changed their lives. Like, people were sold tapes to pay bills. Like, I. I never. I never saw people. There's so many different stories of survival, depression. Some guy didn't commit suicide because of the music. Like, you get all these. I'm sure you get that a lot with Eminem also. Like, it shows how powerful. Like, there's a difference between music and a movement where it's, like, global. And like you said, there was no Internet. There was nothing, like, for us to be global with no social media. No. No real YouTube, like, off of mixtapes. That's crazy. And back then, it was like, what? Biggie, Tupac. That was global. And then 50 came out with this amazing story that got us to this guy. Like, what was the system when 50 cents the future was it. Sotomayor got the tape and then gave it to y'.

[Paul Rosenberg]

All. Yeah. So Theo was representing him, and he was like, you know, you need to check this out. And I was blown away by it. That was like, right out of the gate.

[50 Cent]

You heard the tape before Eminem heard it?

[DJ Who Kid]

Yeah.

[50 Cent]

Okay, gotcha.

[Paul Rosenberg]

So then I passed it to Marshall, and at the time, he was working on his album, plus we were doing 8 mile, right.

[DJ Who Kid]

Wow.

[Paul Rosenberg]

So he had a lot going on, but got him to focus on it. And he was like, yo, I really like this. And he was like, I don't know. You know, do you think we should. We could do this on our own. And at the time, I think we just had D12 and maybe Obi signed to the label. And we just thought because of the help we would need on production and sort of the, you know, base of credibility that it would add to Bring it to Dream.

[50 Cent]

Got you.

[Paul Rosenberg]

So we brought it to Dre, and he was like, okay, let's. You know, we Got to meet him. Right. So we were doing the release party for. For Marshall's album, and we flew him out there to LA.50 and I remember we were in the studio and we were actually doing, I think, some of the mix downs for the film. Like the eight man film.

[50 Cent]

Yeah.

[Paul Rosenberg]

On the big soundstage. And he came by, Dre came by and, you know, 50s, talked about it. He saw Dre's Ferrari and got super inspired.

[50 Cent]

50 yeah.

[Paul Rosenberg]

So. So, you know, you met with them and just sort of hit it off and did the deal.

[Tony Yayo]

Definitely. Come on. Who Kid?

[50 Cent]

What do y'.

[Paul Rosenberg]

All.

[50 Cent]

Are you serious, man?

[Tony Yayo]

Come on. You be on Shay 4:5 all the time.

[50 Cent]

You know better, my brother.

[Tony Yayo]

You know better.

[Paul Rosenberg]

Answering it.

[DJ Who Kid]

Call me back later.

[50 Cent]

Ho.

[DJ Who Kid]

These whores going. You guys are viral now.

[Tony Yayo]

Yo, who Kid? Tell me how you do it on the road. Cause you. I always call who kid the pizzle master.

[50 Cent]

Definitely.

[Tony Yayo]

How do you. Like, when we're going to Italy, how do you have a girl automatically in

[50 Cent]

the room already who care? That's.

[DJ Who Kid]

How do you do it, you know,

[Tony Yayo]

like, those were good times.

[DJ Who Kid]

The clean cut version is like, I was involved with creating an amazing situation with the shows. So it's either you. 50 Cent was always first back then. We were. We had no. We had no. You know. You know how it is. Like, it goes up and down. Like, who's.

[Paul Rosenberg]

He says he's got the trickle down.

[DJ Who Kid]

Yeah. I was number three. Like, Banks was number two.

[Paul Rosenberg]

And what about this guy?

[DJ Who Kid]

He was locked up.

[Tony Yayo]

No, I was.

[Paul Rosenberg]

Oh, you mean that at that point.

[DJ Who Kid]

Yeah, during that point. Yeah, he was. He wasn't around, like, in the beginning of the moisture days, you know, so. Yeah, but it's like they owned it.

[Tony Yayo]

Crazy.

[DJ Who Kid]

I never. I never had issues. Issues. I don't care. It's still a pause. Liquefying days.

[50 Cent]

That's another pause.

[DJ Who Kid]

Anyway, it was. It was always easy for me to get women because I was the. You know, I was buying pause. 50 while he's performing. So they always. Look, the visuals was just too crazy. So, yeah, I've always had, like, women in the room. I don't know why they call me Captain Save a Hole. Because I always make sure they get home. You know, I was never. I'm the guy that's like, why are you doing this? You could do better. You're beautiful.

[Tony Yayo]

Who Kid was like, one of the funniest guys on the road. Like, there's so many stories. Good times. And I feel like, you know, the money, the cause, the jury, the good times with you guys was the best.

[DJ Who Kid]

Can you admit, like, I tell people this story all the time. When I first met them, I had to go. This is after 50 got shot. So for me to get my interview, you know, I had to go meet 50. But all of them was there. Yale, banks, every, guns everywhere.

[Paul Rosenberg]

Where was it?

[DJ Who Kid]

It was in Shaw Money's basement.

[50 Cent]

Shaw Money basement.

[DJ Who Kid]

So I walked down there. And it's funny because outside they had this dirty ass van. Like, what was that van?

[Tony Yayo]

Yeah, the Chrysler Dodge. No ac.

[DJ Who Kid]

Like it's, it was run down, super run down. And then you get down there and it's like, not really crazy lit, but you see the vests, you see the guns everywhere. You think it's like, and this is real.

[50 Cent]

This is real.

[Paul Rosenberg]

This is not like, turn around and leave.

[DJ Who Kid]

I wanted to, but, you know. Yeah.

[Paul Rosenberg]

To get the interview.

[DJ Who Kid]

Because I never met these guys, you know. So can you tell me what was your first reaction? Because when I saw you, it felt like you wanted to rob me. Because I don't know if you probably did.

[Tony Yayo]

No, I mean, I didn't want to rob.

[DJ Who Kid]

I never wanted to rob banks. Had an attitude. He wasn't talking to nobody because he was conservative. You look like you would. You wanted to rob me.

[Tony Yayo]

You know what I'm saying? So I don't, I don't think I look like a robber who was always my boy. This is my guy.

[DJ Who Kid]

But you know what? I think because of the, the, the, the, the, the situation.

[50 Cent]

They were.

[DJ Who Kid]

The situation y' all were in, like, high alert. So I think you just was not

[Tony Yayo]

trying to hear because, because 50 situation kind of turned into our situation. So it was told us, like, if you ain't ready for what's going on, I don't want you to get her to be around, which is smart. It's cool.

[DJ Who Kid]

But, you know, but that's why the infamous question, when he said, I'll ask you three questions. And then he asked me, what would you do? A guy come at me with a Uzi, like, are you gonna. And I told him, I'm outta here. I don't know you. Like, I just met this guy. So he was just like, you know what? You're hired. Because you didn't tell me. Yeah, you didn't tell me you gonna jump in and shoot. You know how other, you know, every unit loser in the hood with the fake tabs would tell 50 what he wants to hear, but now he understand, like, who's around him. Like, 50 was such a. Like he calculated every, every movement. Like all Right. If who kid at this moment don't really know who I am. I know how to move now, you know, which is. Is kind of crazy after he told me this. But I think being truthful, I don't need to be gangster. I came from, like, you know, DJing for CNN and Mobb Deep, seeing shootouts with them cash money.

[Tony Yayo]

I didn't even know that the first

[50 Cent]

person I DJ for was the hip hop.

[Tony Yayo]

Because when I. He just came around. I didn't know. I thought he just DJ Vagina.

[DJ Who Kid]

I didn't know.

[50 Cent]

You never even spoke about that. I. Cause I don't think a lot of

[Tony Yayo]

people knew cnn, Nori and them that you was with Chris Lighty at that time at violence.

[DJ Who Kid]

Yeah, So I, you know, I had to find my way. You know, Chris Lighty was my mentor and Russell. So for me to get. I'm queen, so I'm in Hollis, too. Springfield. DJ Clue was a block away. It was so much Queens and, you know, shit going on that, you know, me robbing the industry. I learned from Clue, right? You know what I'm saying?

[Tony Yayo]

So you learned from Clue?

[DJ Who Kid]

Yeah, I was just snitching like crazy.

[Tony Yayo]

Like, I remember, yo, one memory I had, I remember Paul's wedding, which was crazy. It was like you were the featured dj. Yeah, featured dj. It was DJ Am.

[Paul Rosenberg]

He was like, dj Am, move out of the way.

[Tony Yayo]

That was crazy.

[Paul Rosenberg]

He played Sexy back about 20. Sexy back 20 times in a row.

[Tony Yayo]

So. So Paul comes up to me, he says, yo, this is. You know who this guy is? He passed away, right? BJ Am. Rest in peace to him. He was like, this is DJ am. He said, you know how much I'm paying this guy, bro? And I was like, so what you

[50 Cent]

mean you wasn't happy with him?

[Paul Rosenberg]

Well, I had a great DJ that was supposed to be there for the party, and Yayo decided to get on the tables.

[50 Cent]

Oh, so you trying to tell Yayo to get off the dj?

[Paul Rosenberg]

Yeah, like, I got the best DJ in the world here.

[Tony Yayo]

Got you one of the greatest DJs in the world. And I didn't realize it.

[DJ Who Kid]

You just start having fun.

[Tony Yayo]

Yeah, I just got some drinks.

[50 Cent]

All right, got you.

[Tony Yayo]

Come on, bro.

[50 Cent]

Got you.

[Paul Rosenberg]

He was playing sexy back over and over and over again.

[50 Cent]

Sound like it was a big record

[Paul Rosenberg]

at the time, don't get me wrong.

[Tony Yayo]

And I felt wild because I know DJ Am, Rest in peace, wanted to slap me in my head. And I know Paulie definitely wanted to

[DJ Who Kid]

slap me in my head.

[Paul Rosenberg]

So he was like this.

[Tony Yayo]

I Didn't even realize how big of a DJ was. These guys, like, DJs, you know, get.

[Paul Rosenberg]

You got to remember, like, 50 was there. Dre was there. Jimmy was there. The Cypress Hill guys were there. Like, you know, all my clients were there. And Yayo on the one side.

[50 Cent]

So you had to leave your wife and go let Yayo know he was

[Paul Rosenberg]

doing a little bit too much.

[Tony Yayo]

He wanted to smack me.

[Paul Rosenberg]

I had to shut him down.

[50 Cent]

All right. Got you, boy.

[Paul Rosenberg]

Got you in a very nice way.

[Tony Yayo]

I'm like, oh, shit. My bad. I was just always overexcited. Cause I came out of jail, and I always give everything.

[Paul Rosenberg]

Jimmy Iovine was there. He was like, is that who Kid? I was like, no.

[DJ Who Kid]

Who Kid?

[Paul Rosenberg]

That's Tony Ayo. Oh, I know Tony Ayo.

[Tony Yayo]

I swear to God, my wildest experience was eating on top of Interscope Balcony. And it was 50. Me and Jimmy Iovine, and I didn't say a thing. I just sat there and just always let the bosses talk with these guys, man.

[Paul Rosenberg]

What did you eat, though? You're famous for your recipes.

[Tony Yayo]

Oh, my. You know, it's crazy. I don't know what we ate, but it was Jimmy Iovine. So it was good food.

[50 Cent]

It was some type of exotic. It was all right. Got you.

[Paul Rosenberg]

Gotcha.

[Tony Yayo]

Yeah. It was a funny moment. Cause I remember Jimmy saying, 50, we're back. Cool. I could put your plaque back on the wall. And I was just laughing. I just sat there and laughed. Cause I just watched the bosses be the bosses. That's why I appreciate you guys taking time to come out here.

[50 Cent]

You know what I wanted to ask you, bro? How did the whole process of the Free Yayo shirts went with Eminem?

[DJ Who Kid]

That's what I was gonna bring.

[50 Cent]

Cause this guy was legendary with that song. How did that whole process come up?

[Paul Rosenberg]

Free ao? It became a slogan, right? That everybody was saying. And, you know, we all wanted to see him free. Like, it was genuine, right? So when we did the. It was the Grammys. Marshall performed Lose Yourself at the Grammys with the Roots. And he wore the Free yo shirt that we had made up.

[Tony Yayo]

Definitely. Shout to Tracy, Shout to Mark. Shout out to you.

[Paul Rosenberg]

What was that like for you?

[50 Cent]

I was about to say you was in jail at that time.

[Tony Yayo]

I was in C73.2 lower. And that was the most amazing thing in my life. Like, it was. Cause they could have forgot about me. I was in jail. You know, it's music business. But to me, it always felt like

[50 Cent]

I probably would have forgot about you, but go ahead.

[Tony Yayo]

Yeah. I know you probably. But it was like, it always. For me when we came into business, it always felt like a family with Shady aftermath who Kid violated. It always felt like a family to me. So when he wore that. And I'm locked down, you know, Shelter, Tracy, you know, did a whole bunch of stuff for me, though. Shady send me stuff. 50 send me stuff. So for me, I just. I felt good. And then I'm on Riker. So, you know, you got to ask people, yo, can we use. Can I watch this? Because, you know, they might want to fight or stab you over the tv.

[DJ Who Kid]

How did the prisoners react to that?

[Tony Yayo]

No, it was good. That was big. That's when they wanted to kind of, like, put me in PC on Rikers Island.

[DJ Who Kid]

Oh, Cause you got crazy popular.

[Tony Yayo]

Yeah, because people started to know, you know, but that was. That was in here.

[50 Cent]

They got you.

[Tony Yayo]

Shady called me, you know, and people from Shading called me, and it was like, yo, Em's gonna wear the shirt. I was like, wow, you're gonna do something special. They didn't tell me what it was. And then the free Yale shirt came about.

[50 Cent]

How many did Eminem love you, Marshall. Shout out to Eminem for that?

[DJ Who Kid]

How many? How many did we sell, though?

[Paul Rosenberg]

Oh, man.

[Tony Yayo]

I mean, I gotta check.

[DJ Who Kid]

When I came home, he got bootleg like crazy.

[50 Cent]

I gotta check when I came home,

[Paul Rosenberg]

who Kid was probably selling more yo shirts than anybody.

[50 Cent]

Who kid on here with a bootleg Eminem shirt on right now. And we with Paul Roll crazy.

[Paul Rosenberg]

I promise you, we did not make that tr.

[50 Cent]

This guy is crazy right here.

[DJ Who Kid]

It's a kawinky dink. I had it on today. I thought I was coming here. I see Paul. I was like, what?

[50 Cent]

That's crazy right there.

[DJ Who Kid]

To me.

[50 Cent]

That's crazy.

[Tony Yayo]

What's your favorite G Unit mixtape? I'm ask you.

[DJ Who Kid]

I gotta ask you because you automatic gunfire.

[Tony Yayo]

That's when we killed Ja Rulu in one day. The best Ja Rule skits that was in the studio. That was crazy.

[DJ Who Kid]

The best Ja Rule skits were like. And shout out. I don't want to snitch him out, but he did all the skits. He's like a big executive right now. Isn't that crazy that he's a huge executive?

[50 Cent]

I don't know who you're talking about.

[DJ Who Kid]

Yeah, I don't know. We don't see this.

[50 Cent]

You might as well not. This is the real report you got to talk on here.

[DJ Who Kid]

Who did you.

[50 Cent]

Who did the skits?

[Tony Yayo]

You know who did it.

[DJ Who Kid]

All right, well, his name Was Riggs. I don't know if this is a real name. You never do that.

[Paul Rosenberg]

Oh, yeah, well, I. I forgot which ones you were talking about.

[50 Cent]

Shout out to Riggs.

[Tony Yayo]

Yeah, that was Yo, Shout out to Riggs if you want.

[DJ Who Kid]

We never shouted them out because. Because he was, like, in the labels, you know, he was A and R. So it's like, the easiest guy to beat up would be Riggs. So we just. I'd never released that information. It's too late now. He's like.

[Paul Rosenberg]

He did a bunch of skits. He did skits with alchemists, too.

[DJ Who Kid]

Yeah, but they were so perfect.

[Paul Rosenberg]

Let me ask you a question. When you came out, right? Because I remember the day you came out, right? First of all, you looked crazy. Your eyes were wild. People were throwing jewelry on you, stuffing money in your pockets, giving you fur coats and shit.

[DJ Who Kid]

Oh, like Jake watches.

[Tony Yayo]

He should have got down with us.

[Paul Rosenberg]

What did that feel like?

[Tony Yayo]

Oh, but 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 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, and 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. Cristal popped, and, like, I just remember everything. So for me.

[Paul Rosenberg]

And then how many days later were you locked up?

[Tony Yayo]

Remember, I was on the run for a good while. Cause I never wanted to go to jail. I was like, well, I'm gonna go to jail. We signing with Eminem, missing that tour. You know What I mean, Dr. Dre?

[Paul Rosenberg]

Within a few months, right?

[Tony Yayo]

Yeah, it was like, yeah, probably within a few months, would you say?

[DJ Who Kid]

Okay, I would say, like, a year. You got caught at the infamous. What's that? Spanish?

[50 Cent]

Because you got to go.

[DJ Who Kid]

Yeah. So you got.

[Tony Yayo]

When I came back to New York, that's when I got caught up. 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.

[DJ Who Kid]

Well, is it safe to say Forever? Is it safe to say that? Because he was cool with being on the run, is when he heard Eminem is gonna be in Barcelona, he was like, fuck that. He took his brother's passport and Took the opportunity to fucking hang out with em.

[Paul Rosenberg]

So it got you out but it didn't get you back, basically.

[DJ Who Kid]

Isn't that crazy?

[Tony Yayo]

That was crazy. And somebody from the office. I'm not gonna say no names.

[DJ Who Kid]

Yeah. Oh, my God.

[Tony Yayo]

First day getting out. They put the passport and the paperwork and I'm so excited y' all had the steakhouse for me ill night. Wow.

[DJ Who Kid]

I got the jewelry like you said, man.

[Tony Yayo]

I don't want to say. No, the name I don't want to say. I don't want to say.

[50 Cent]

We just made who get though.

[DJ Who Kid]

I know.

[50 Cent]

I just. Paul. Okay, Paul. I'm stand there.

[Paul Rosenberg]

All right.

[50 Cent]

Okay, Paul. Okay, Paul.

[Tony Yayo]

Paul don't like that.

[50 Cent]

Okay, cool.

[Tony Yayo]

They put that. They put the passport in there mistakenly. Oh, mistake my face and my brother's name. So kind of idiot move.

[50 Cent]

All right, gotcha.

[Tony Yayo]

You know what I mean? Passport was no good. So I'm so excited. I'm not looking even in the paperwork. I'm just like it. Going to parole. Got my chain fur music going. Feeling good. Thanks for shit going on.

[Lily Herman]

Ready for a different take on Formula one? Look no further than no Grip, a new podcast tackling the culture of motor racing's most coveted series. Join me, Lily Herman, as we dive into the underexplored pocket of F1, including the astrology of the current grid.

[Paul Rosenberg]

Lewis Hamilton, Capricorn Sun, Cancer Moon. Wouldn't you know it?

[Podcast Announcer]

Michael Schumacher is also a Capricorn Sun

[Lily Herman]

Cancer moon, the story of the sport's most consequential driver. Strike. We have one man who, upon hearing that he was going to be fired, freaked out and apparently climbed out the window of the bathroom and was Daniel Ricardo's illustrious F1 career a success story, a cautionary tale, or some combination of both?

[Podcast Announcer]

He started getting all this attention and he maybe started to think, I'm bigger

[Lily Herman]

than this, I'm better. And plenty of other mishaps, scandals and sagas that have made Formula One a delightful decadent dumpster fire for more than 75 years. Listen to no Grip on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Host of DOSA Mingles]

If you are a founder or a freelancer or the friend who always says, hey, you know what? What if I started that? This is for you.

[DJ Who Kid]

I'm telling you, I had nothing to my name. I didn't know a single person in New York, and somehow I'm dressed by

[Tony Yayo]

Oscar de la Renta walking down that red carpet.

[Host of DOSA Mingles]

This month we sit down with entrepreneurs and creators who actually did it, who turned this scary leap into a business, a paycheck, and a life they are proud of.

[Guest on DOSA Mingles]

Direct center of our happiness or our regrets is whether or not we're taking action on the things that matter to us. They're not selfish, they're so important, they actually lead to our greatest contributions. Because when we're living fulfilled, we actually show up better everywhere. We lead better, we're better friends, we're better relationships and collaborators and all those things because we have passion about the things we're doing.

[Host of DOSA Mingles]

If you're trying to build something of your own this year, join us in these conversations that will make you braver and smarter with your money. Listen to DOSA Mingles as part of the Michael Tudor Podcast Network, available on the iHeartRadio app, Apple Podcasts or or wherever you get your podcast.

[Podcast Announcer]

I feel like it was a little bit unbelievable until I really started making money. It's Financial Literacy Month and the podcast Eating While Broke is bringing real conversations about money, growth and building your future. This month hear from top streamer Zoe Spencer and venture capitalist lakeisha Landrum Pierre as they share their journeys from starting out to leveling up. If I'm outside with my parents and there's a seeing all these people come up to me for pictures, it's like, what today? Now, Obviously it's like 100%. They believe everything. But at first it was just like, you gotta go get a real job. There's an economic component to communities thriving. If there's not enough money and entrepreneurship happening in communities, they fail. And what I mean by fail is they don't have money to pay for food, they cannot feed their kids, they do not have homes. Communities don't work unless there's money flowing through them. Listen to Eating Wildbrook from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Bob Pittman]

Hi, I'm Bob Pittman, chairman and CEO of iHeartMedia, and I'm kicking off a brand new season of my podcast, Math and Stories from the Frontiers of Marketing. Math and Magic takes you behind the scenes of the biggest businesses and industries while sharing insights from the smartest minds in marketing. I'm talking to leaders from the entertainment industry, to finance, and everywhere in between. This season of Math and Magic, I'm talking to CEO of Liquid Death, Mike Cesario, financier and public health advocate Mike Milken, Take Two Interactive CEO Strauss Zelnick.

[DJ Who Kid]

If you're unable to take meaningful creative risk and therefore run the risk of making horrible creative mistakes, then you can't play in this business.

[Bob Pittman]

Sesame Street CEO Sherry Weston and our own Chief Business officer, Lisa Kaufman.

[DJ Who Kid]

Coffee.

[Lily Herman]

Making consumers see the value of the

[Podcast Announcer]

human voice and to have that guaranteed human promise behind it really makes it

[Lily Herman]

rise to the top.

[Bob Pittman]

Listen to math and magic stories from the frontiers of Marketing on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Host of Earn Your Leisure]

Hey, earners, what's up? Look, money is something we all deal with, but financial literacy is what helps turn income into real wealth. On each episode of the podcast, earn your leisure, we break down the conversations you need to understand money investing and entrepreneurship. From stocks and real estate to credit business and generational wealth, we translate complex financial topics into real conversations everyone can understand. Because the truth is, most people were never taught how money really works. But once you understand a system, you can start to build within it. That means ownership, smarter investing, and creating opportunities to not just for yourself, but for the next generation. If you want to learn how to build wealth, understand the markets, and think like an owner, Earn your leisure is the podcast for you. Listen to earn your leisure on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

[Tony Yayo]

Ain't no click albums are selling Eminem out of here. And mind you, we selling hard copies.

[DJ Who Kid]

Oh, yeah.

[Tony Yayo]

It's not. No. That's why I asked about the mixtape, because we were selling hard copies.

[50 Cent]

What you think about that, Paulie? The mixtape, like the hard copies versus streaming and all that right now?

[Paul Rosenberg]

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.

[Tony Yayo]

Wow.

[Paul Rosenberg]

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. So 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 we're 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

[50 Cent]

a year, crack, you got to go buy the CD again if you really like it.

[Tony Yayo]

Yeah, but they weren't. They Weren't.

[Paul Rosenberg]

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 1299, 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. Right. 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 they made it through. So it really saved things in a lot of ways. And I know people complain about streaming

[50 Cent]

rates, get paid, what artists get paid

[Paul Rosenberg]

off of it, but the same people complaining about that weren't really selling CDs, either.

[DJ Who Kid]

Facts.

[50 Cent]

Oh, look at that. That's crazy. That's a hard fact right there.

[Paul Rosenberg]

So, of course, the artists who are the biggest are gonna make the most money because they. Or listen to the most. You know, is it entirely equitable? Could it be better? Probably, but it's not terrible.

[50 Cent]

Gotcha.

[DJ Who Kid]

I saw an interview the other day with what's the name from Black Eyed Peas.

[Paul Rosenberg]

I know. Easy for me to say, right? But still, wasn't that from Black Eyed Peas?

[50 Cent]

Nah, but I think. I think you broke it down. I think people gonna find that you broke it down right there. They gonna definitely like that.

[Tony Yayo]

So.

[DJ Who Kid]

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, like, jackpot hit?

[Paul Rosenberg]

It was lightning.

[DJ Who Kid]

Insane, right?

[Paul Rosenberg]

Striking twice in the same place. 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.

[Tony Yayo]

Wow.

[Paul Rosenberg]

There was a moment that that happened, and, you know, we were thrilled because, you know, 50 was. Was our artist.

[50 Cent]

Of course. Of course.

[Paul Rosenberg]

But that kind of success and that level of popularity and sort of worldwide notoriety doesn't happen twice in the same place.

[50 Cent]

Hmm.

[Tony Yayo]

Right.

[50 Cent]

You know, how did you and Em hook up with Dre? How did that connection, like, first start?

[Paul Rosenberg]

Yeah. So Marshall was out in LA doing something called the Rap Olympics. And it was. It was a rap battle put together by Wendy Day from the Rap Coalition.

[Tony Yayo]

Okay.

[Paul Rosenberg]

And this was in 97, I believe. And they were putting teams together, and Wendy had her. Her Rap Olympics team, and they were going to battle in different teams, which is why they called it the Olympics. But 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 from LA named Otherwise, and he sort of was a hometown favorite. And Marshall choked a little bit. This is all really well documented.

[50 Cent]

Okay.

[Paul Rosenberg]

So afterwards, he was really depressed because the grand prize of the battle was, like, a Rolex and 500, which at the time.

[DJ Who Kid]

That's crazy.

[Paul Rosenberg]

He was being evicted. He didn't. He didn't have, you know, two nickels to rub together.

[50 Cent]

Gotcha.

[Paul Rosenberg]

And that would have, you know, changed things for him. So he was. He was upset. He 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 like, 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 Walley'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 LA to meet with labels. And I may have gassed the story up a little bit, right? And I said, yeah, you know, Marshall's going out. We're about to close a deal with whoever. Sony, I can't remember what I said. If you guys want to take a meeting, it's going to be your last opportunity. So Dean and Evan finally had the courage to bring Marshall's music to their bosses. And, you know, Dean brought it to Jimmy and he said, 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, which we didn't, but good one.

[50 Cent]

I mean, it worked out. Look, it worked out. It worked out, Paul. It worked out.

[Paul Rosenberg]

So Jimmy brought the cassette with him home, and he used to listen to music in his gym when he was working out. And Dre was over there one weekend, and he was going through, you know, his bag of tapes, and he saw M and M's, and he was like, who's this? And Jimmy said, oh, you know, it's this kid one of the guys gave to me. You should check it out. So 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.

[DJ Who Kid]

That's crazy.

[Paul Rosenberg]

Didn't know who he was. Didn't know he was white, but thought he was good.

[50 Cent]

Look at that.

[Paul Rosenberg]

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 this kid.

[50 Cent]

Look at that.

[Paul Rosenberg]

And that was it.

[DJ Who Kid]

That's crazy.

[Tony Yayo]

Who. Can you remember going to Jimmy Alvine house?

[DJ Who Kid]

That's how I got caught.

[Tony Yayo]

What?

[DJ Who Kid]

Because I was hiding. I told Paul earlier, like, what?

[Tony Yayo]

In Jimmy Alvine house?

[Paul Rosenberg]

He said that he was running around hiding because we were all looking for him. Cause he was stealing everybody's music and releasing it early. He knew we were all upset with him. 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.

[DJ Who Kid]

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.

[Tony Yayo]

I knew all Chunk King. You brought it back.

[Paul Rosenberg]

Hey, the Engineers, yo.

[DJ Who Kid]

So all the engineers will call me, be like, oh, Jay Z got a block from 12 to 6. I know Jay Z ain't gonna be there all night. He'll probably leave at 4. So I'll get there like 2am and I park. I see Memphis Bleak. Everybody coming out, Beanie. And once they come out, see ya, see ya.

[50 Cent]

$500, that hard drive.

[DJ Who Kid]

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 gotta go through, you know, the DAT. That's old school, too.

[50 Cent]

It don't matter.

[DJ Who Kid]

90 minute DAT, you gotta go get all that.

[Paul Rosenberg]

He walked out of the studio with a dat for 500 dol. And you didn't know what was on it?

[DJ Who Kid]

Yeah, I would take it and go through the whole thing.

[Paul Rosenberg]

There you go.

[Tony Yayo]

DJ secrets right there.

[50 Cent]

Crazy.

[DJ Who Kid]

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.

[Paul Rosenberg]

You still have those?

[DJ Who Kid]

Yeah, somewhere. Yeah, I have old, old dats.

[50 Cent]

That's all I got. We could definitely use some of those. For the real report. But we know everything costs. It's all good. We got a nice check. Shout out to the value.

[DJ Who Kid]

Like

[Paul Rosenberg]

I said, he's the first DJ that I ever. He bought a Lamborghini off of mixtapes. You remember that? Yeah, he had a yellow Lamborghini.

[DJ Who Kid]

I used to put the tapes in the front.

[Paul Rosenberg]

And he'd sell mixtapes as his income and sold enough mixtapes and made enough money off the mixtape game to buy a landlord.

[50 Cent]

Look at that.

[Paul Rosenberg]

That's crazy.

[DJ Who Kid]

I never cared about the high seven checks. I was like, get that shit outta here.

[50 Cent]

You wasn't really on there too long.

[DJ Who Kid]

$78.

[50 Cent]

You had a short run on there.

[Tony Yayo]

Yeah, he said radio don't pay him over there. He didn't care.

[DJ Who Kid]

That's why I was cuz, you know, thank God he heard me one day whileing out. I did Crackhead Mondays and then I had Bobby Brown call up, but he didn't know it was Crackhead Monday. So Paul's 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?

[Tony Yayo]

G Unit Radio was the, was the best. That was classic, classic hip hop at

[DJ Who Kid]

that point, believe it. When Clue left hot, that's how I got that Monday spot.

[Tony Yayo]

Yeah, definitely, I remember that.

[DJ Who Kid]

But RIP Chris Lighty, the way I leaked like any record. Like if I did a song with 50, like the Biggie in 50 or the Tupac and 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 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 7, if you're gonna get beat up, you take it. You know, like if nino's waiting for you or whoever's outside waiting. And they beat up the DJ for not playing the song, there's a back secret elevator to escape. So 1055-11, I play Biggie and 50 realest killers. So I'm gone, I'm not up there.

[Tony Yayo]

I'm the realest killer.

[DJ Who Kid]

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 of Biggie verse like you,

[Paul Rosenberg]

you always wonder that verse, he's never heard that verse.

[Tony Yayo]

Yeah, I remember with that record. I remember that.

[50 Cent]

Yeah.

[Tony Yayo]

I was like, where did that record even come from? That was crazy, bro.

[50 Cent]

So Puff never even heard that Biggie verse.

[Paul Rosenberg]

So where'd you get it?

[DJ Who Kid]

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 was just. I would steal the dats because, you know, I think.

[50 Cent]

Did that record get cleared? It got cleared.

[Tony Yayo]

It got cleared. Yeah.

[DJ Who Kid]

I mean, I leaked it. It was too late.

[Paul Rosenberg]

Wait a second. Before, you said you were paying engineers, then you just said you stole them. Which. Which is it?

[DJ Who Kid]

So a little bit of both. 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 thank God you had Shady Records, so you had to really physically be there.

[Paul Rosenberg]

Yeah, we had that locked down.

[DJ Who Kid]

Yeah, it was locked down.

[Paul Rosenberg]

You weren't allowed there anyway.

[DJ Who Kid]

Shady Records was like, yeah, well, he wasn't allowed.

[50 Cent]

Oh, oh, bro.

[DJ Who Kid]

Yo, when I had to, it's like going to the Vatican. I had to take off my phones, passport, everything.

[50 Cent]

Was it because he had a reputation?

[DJ Who Kid]

But ass naked, of course we called him.

[Paul Rosenberg]

Listen, we called him Scooby Doo.

[DJ Who Kid]

All right, guys?

[Paul Rosenberg]

Because every time you said something, he'd be like,

[50 Cent]

it's on a Russian website.

[Paul Rosenberg]

Got.

[DJ Who Kid]

You got it from a Russian website.

[Paul Rosenberg]

Scooby Doo is not allowed in the booth.

[Tony Yayo]

Hun snatched who kid up back in the day, period.

[DJ Who Kid]

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 and R. So I just walk. I go to everybody's room.

[Tony Yayo]

I remember this Merc. Back then, it was a tight system. So you noticed, like, a lot of Eminem, 50 Cent Records, Dr. Dre, them things really wasn't getting leaked.

[DJ Who Kid]

Like, hell no. They were the hardest to get.

[Tony Yayo]

That was just crazy because that's when records were exclusive. I love streaming, but back then, a record was exclusive. You might have one DJ that has this record, first he gets to. He gonna rock it for what?

[DJ Who Kid]

I learned that from DJ Blue, you know.

[Paul Rosenberg]

So wait, you would walk around the offices and go in people's offices and steal dats?

[DJ Who Kid]

Because nobody locked the offices. So I look like a black A and R. I would dress like, with the. I would wear, like a button up. I look like I went to church, but I look like those corny A and 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. I'll turn the light on. And then all. You know how you have the dads packed up? All I gotta do is see, oh, Beyonce featuring Q Tip.

[Tony Yayo]

They used to write.

[DJ Who Kid]

And I'll just take that. Anything that has a feature. Cause back then, R and B ran the world. Like hip hop needed R and B to live like Jay Z and all them, they had to like, ride off

[50 Cent]

of R and B.

[DJ Who Kid]

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. That's how I got the Sade and Jay Z song, right? So I see Jay Z shot day. Take that. So out of courtesy. Out of courtesy, I would record it

[50 Cent]

was out here stealing these records.

[Paul Rosenberg]

But sometimes I'll just take your offices, that's all.

[50 Cent]

ANRs lock your office.

[DJ Who Kid]

But yeah, the, 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 leaked it. Like a year later, I saw Dre at Super Bowl. He's like, yo, this fucking guy.

[50 Cent]

Him.

[DJ Who Kid]

And Jay Z was telling. I tried that. Yo, this is a true story.

[Tony Yayo]

So legalization.

[DJ Who Kid]

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, blowout.

[Tony Yayo]

You talking about Curtis Battle? Big Curtis?

[DJ Who Kid]

Yeah, Big Curtis. You know, he's a production for Super Bowl.

[50 Cent]

Somebody was trying to get out to Curtis.

[DJ Who Kid]

No. So when Jay Z comes through, that somebody with a blowhorn be like, Jay Z coming through. Like, you know, so they clear the, you know, the, the area, you know, where we were at. And with the, you know, all of us had our own, like, cubicle. Yeah. So when Jay walks through, they just scream it. So he just walks through. So I, I, it was too far to get to em's joint or 50's room. So I would, Jay Z would have seen me. So I try to like hide behind Curtis. Cause Curtis is like 20ft tall. You know what I'm saying? So I'm hired by Curtis and Anderson. Pack 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 Eminem's room, nobody's gonna touch me. You know what I'm saying? I'm good. If I go to 50 room, nobody's definitely not gonna touch me. Cause 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'm like, what? Yo, so Dre's coming at the same time. That's why I got it on video. And then you could see like, oh, he robbed you too. Oh, here's Dre. Oh, he robbed you too, Jay. Yo, I was like, this is getting out of hand.

[Tony Yayo]

That was on Jay Z50 tour, because, remember, I know this Super Bowl.

[DJ Who Kid]

Super bowl went in la. Yeah.

[Paul Rosenberg]

I was on Dre and Kendrick and Marshall, thanks to this guy. And Mary J. Blige, first of all.

[DJ Who Kid]

Thank you. Because, you know, thanks to this guy, I'm the reason I got the invite.

[Paul Rosenberg]

He's our guest.

[Tony Yayo]

Got you.

[50 Cent]

Okay, so imagine you invited the thief.

[Paul Rosenberg]

We know better now, okay? I don't have laying around.

[50 Cent]

All right, guys.

[DJ Who Kid]

Okay.

[50 Cent]

All right. Got you, Got you.

[Tony Yayo]

You know what time it is?

[DJ Who Kid]

Imagine during COVID and you're stuck in a bubble.

[Paul Rosenberg]

He's performed.

[DJ Who Kid]

I'm good now. Yo, you could put Eminem's on right here. I'm like, I learned.

[Paul Rosenberg]

I listen because he knows he'll get fired.

[50 Cent]

I stole enough that I came up. I'm good. I don't need to do it no more.

[Paul Rosenberg]

Plus, the game's different, right?

[50 Cent]

The.

[DJ Who Kid]

The game is different.

[Paul Rosenberg]

Exclusivity doesn't exist. Once the record's out there, it's everywhere.

[50 Cent]

Everywhere.

[Paul Rosenberg]

Back then, it was on your mixtape. You were the only. It was the only place you could.

[DJ Who Kid]

Because you get to talk over it.

[50 Cent]

Certain things when you're a dj, you

[Paul Rosenberg]

say little things over the records can take it. But by the time they put their mixtape together and they got that there, like, everybody's already bought who kid's mixtape, and it was the only place to get it.

[DJ Who Kid]

And I was know, 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 the title, I'll change the title. So I'll even trick the public. So I 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.

[Tony Yayo]

Nah, Clue was.

[50 Cent]

I hated going everywhere.

[DJ Who Kid]

Oh, we got Clue. We don't need your tape. We're good. I had to find a way to fucking bypass him.

[50 Cent]

Like, I got some shit Clue don't got.

[Tony Yayo]

I feel like Clue stopped the cause. It was all about mixtape. Like the blends. Like you had grandma's dog time. And then when you came with Clue, he was just. It was. It changed into exclusive. Just playing the exclusive record or the exclusive record.

[DJ Who Kid]

I mean, he leaked Biggie. He leaked One More Chance. Biggie's biggest record. One verse in the hook is all a DJ would need.

[50 Cent]

Oh, Clue did that.

[Tony Yayo]

Clue leaked that.

[DJ Who Kid]

Biggie went on hot nights and was like, who is this guy? I'm ready to kill him right now.

[50 Cent]

Oh, that's right. I remember.

[DJ Who Kid]

So that made us like Adrenaline Rush. I wanted him to try to kill me, like. Cause back then, like I said.

[50 Cent]

But that got Clue popping.

[DJ Who Kid]

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 was Talking about that 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 could say me. You could say like envy. You could say like, you know, drama. You could say like K, slay, rip to death. Like we're part of like that system.

[50 Cent]

That's a fact.

[DJ Who Kid]

That's in the DNA of everybody that's hip hopped out.

[Tony Yayo]

Yeah. Cause before that it was Grandmaster Vic. You had dog time. Everybody was more doing blends, you know what I'm saying? And then Clue was Dirty Harry. Yeah. He was the first dude to play this doo wop. Yeah. Yep. He was the first dude to start kind of playing exclusive because I. I was a fan of Ron G. Wrong G. Number 10.

[50 Cent]

G used to be on it.

[Tony Yayo]

Yeah. Classic. You know hip hop.

[DJ Who Kid]

I mean, Kid Capri did the first, like.

[Tony Yayo]

Yeah, Kid Capri, he did the bad

[DJ Who Kid]

boy stuff back in the days. And then that's what made me like get into it. But Clue was my name. Clue lived two blocks away from me, so I had to get into it.

[Paul Rosenberg]

All you Queens guys.

[Tony Yayo]

Queens, baby. Brooklyn. Brooklyn.

[Paul Rosenberg]

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.

[DJ Who Kid]

Oh, yeah, yeah.

[Paul Rosenberg]

And I Love that term, by the way. It's so much better than being older.

[Tony Yayo]

Og. OG is cool, but it's respectful.

[50 Cent]

Of course. Of course.

[Paul Rosenberg]

Anyway, I digress. So all these older DJs, where are the new ones? Where'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 coming up doing that.

[DJ Who Kid]

It took 20, 30 years to get became, you know, who I am.

[Paul Rosenberg]

But at a point, you started popping, you know, 20 years ago. Right. When you were. 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.

[50 Cent]

It's so easy to get the music. I feel like it's hard.

[Tony Yayo]

Yeah. 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 gonna 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. We go to Hot Wax. Me and Banks was like, stars already.

[DJ Who Kid]

Hell, yeah.

[Tony Yayo]

Like, everybody didn't know who Kid was a star already. Like, I was happy with just that in the beginning. Cause it was big, what he did in the streets. So for me, I don't think too many DJs could just. Just replicate that time and do that again.

[Paul Rosenberg]

So the time is different. Yeah. And it's more, probably more lucrative for guys with personalities and that kind of drive to do other things.

[DJ Who Kid]

Right, Right.

[Paul Rosenberg]

Those are probably the YouTubers and the Social media guys. Right?

[DJ Who Kid]

Those are the big guys.

[Paul Rosenberg]

Like a guy like Drew Ski, he. He could probably have been an amazing.

[50 Cent]

Of course, because of the personality, all the things he do.

[Paul Rosenberg]

Right. Kai Sanat, all those guys. That's probably where that. That kind of talent goes these days.

[Tony Yayo]

Right.

[DJ Who Kid]

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. I hung out with Snoop, I hung out with Yale.

[50 Cent]

That don't work. I' ma steal these guys records.

[DJ Who Kid]

Yeah, I had legendary clicks. Maybe I'm lucky. Maybe I'm a unicorn.

[Tony Yayo]

I mean, come on, you have Samuel Jackson, like Chris Rock and like.

[DJ Who Kid]

But that's how I upgraded. Because if I'm up against clues, I was like, you know what? I'm just gonna get the actors. I'm gonna get like. Because nobody's asking them. I started with the label execs. I had like Leo Cohen.

[Tony Yayo]

Come on, you had LeBron James on our team.

[DJ Who Kid]

Everybody's doing.

[Tony Yayo]

That's what made it big. And everybody. Samuel Jackson, this guy had Martha Stewart.

[DJ Who Kid]

Everybody came to shape.

[Tony Yayo]

Eminem and what he built and the empire he built was so big that people were willing to come.

[DJ Who Kid]

They gravitated. They just want to be near hot shit.

[Tony Yayo]

We talking 16 million records worldwide. Hard copies. That's when you had to go in the store fye Best Buy, you know,

[50 Cent]

and really buy the. Buy the music.

[Tony Yayo]

You pay for your promo pick in there. I learned everything from, from being around Interscope, Shady, Aftermath, violence.

[DJ Who Kid]

You know what I saw the other day? Tony Hawk hosted a tape. I forgot about that.

[Tony Yayo]

Like, see, this is what I'm saying. Tony Hawk, they had a bro, look at that.

[50 Cent]

Look at that.

[Tony Yayo]

It was like. And it turned into a worldwide thing. And I always say. And 50 always says it because, you know, like, that was the best deal we ever signed in our lives, bro.

[DJ Who Kid]

Because the science, 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 the Canal street and you know, you see tons of tapes. Ron, gc everybody. But if you see who, kid. Hosted by Robert De Niro. What the hell is this?

[Tony Yayo]

Of course.

[DJ Who Kid]

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, talk about, fuck that shit, let's go drop that date. Like, like that. Like, so that makes it like kind of like a souvenir to keep, you know, you, you, 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.

[Paul Rosenberg]

Yeah.

[DJ Who Kid]

But they feel bad for them.

[Paul Rosenberg]

They want it, which is a big part of the reason for the resurgence of vinyl.

[DJ Who Kid]

Exactly.

[Paul Rosenberg]

Because kids, they. They buy vinyl because they want to own something from the artist. 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, 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 their walls.

[Tony Yayo]

Yeah, my son, My son.

[Paul Rosenberg]

They just want something from the artist. They want something tangible because otherwise they don't have it. Like, you know, all this stuff on their phone is fleeting. They want something permanent that they can hold that connects them to the artist.

[DJ Who Kid]

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. We got the autograph from nas. We bought the poster. Like, I was talking to what's his name? Ice t. The other day I had like. Like his first baby moms, you know, with the gun, with the shotgun. That's a classic power. That's a classic poster. Like, there's no more. There's nothing to be like, you know, you come home from high school and you see like, people you look up to. They don't do that no more. Run DMC is the reason why I wore adidas.

[Tony Yayo]

Like, that's right.

[DJ Who Kid]

Who's doing that? Besides, like, you know, certain artists now, people follow their fashion sense, but it's more like, I'm not gonna diss it so bad. It's got like a dick riding thing because of social media.

[50 Cent]

Pause.

[DJ Who Kid]

Yeah, pause. They just ride whatever's the wave back then it was. It was very cultural. The fashion was life. Like hip hop was life. 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.

[Tony Yayo]

Like, definitely the tunnel.

[DJ Who Kid]

All these classic rappers from back then.

[Paul Rosenberg]

Like, remember the tunnel search when you got what?

[Tony Yayo]

Oh, my God.

[Paul Rosenberg]

It was like more security. I've never been to prison, thank God. It was. Was like more serious than that. Take your boots off, Open up your mouth.

[Tony Yayo]

You couldn't even wear a chain in the tunnel back then.

[DJ Who Kid]

People were getting killed in there.

[Tony Yayo]

No chain. They had the no chain rule after a couple of years. Wow. Remember when 50 did how to rob and it was crazy, bro.

[DJ Who Kid]

Peter gation told me, like, almost like a couple times a month they'll find like somebody that you know. Cause Back then they stabbed people. So you stab. 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. Like, you know, shearlings and what do you call V neck gooses. Because people were stabbing and robbing those feed that gooses. Remember that? The V. The V goose. What? You know, I know.

[Tony Yayo]

Triple fat goose. I never heard of.

[DJ Who Kid]

V neck is like. It's like the. It's like the color. But the color. The V would be like white. It'd be like a V. The V neck.

[50 Cent]

Oh, yeah, yeah, yeah.

[Paul Rosenberg]

Like a varsity jacket.

[50 Cent]

That wasn't like the bar that just

[DJ Who Kid]

had the V. Like, that's why they call it.

[50 Cent]

I know what you're talking about.

[DJ Who Kid]

And I. I remember that I. I saved all my money. I tricked my father acting like I. 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. This was back in the day. Steve style was like a bully. So he would chase us little kids all over Queens. And I just tried to get my V, Nick. What? Him and yo, it was crazy. This guy was a bully.

[Tony Yayo]

Yo, that's crazy.

[50 Cent]

But he turned V neck gooses. That's crazy.

[Tony Yayo]

See ya.

[DJ Who Kid]

We survived. You good? Good luck surviving the off season, football fans.

[Tony Yayo]

At first I was afraid. I was petrified. Football's over. It's like a part of me just died inside. 200 days till football's back. But tonight I won't just cry.

[50 Cent]

Cause I've got a waste to play.

[Tony Yayo]

And that's the place with Hard rock. Bet I will survive.

[DJ Who Kid]

Offered by a Seminole tribe of Florida. Must be 21 plus and physically present in Florida to wager. Terms and conditions apply. If you or someone you know has a gambling problem, please call 1833. Playwise.

[Lily Herman]

Ready for a different take on Formula One? Look no further than no Grip, a new podcast tackling the culture of motor racing's most coveted series. Join me, Lily Herman, as we dive into the underexplored pockets of F1, including the astrology of the current grid, the story of the sport's most consequential driver strike, and plenty of other mishaps, scandals and sagas that have made Formula One a delightful decadent dumpster fire for more than 75 years. Listen to no Grip on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Podcast Announcer]

Then she says, have you seen a

[Lily Herman]

photo of my son?

[DJ Who Kid]

And I'm like, who is this person?

[Host of Boys and Girls Podcast]

Welcome to the boys and girls podcast. Arranged marriage is basically a reality show, and you're auditioning for your soulmate. And who's judging? Only your entire family. I sacrificed myself to this ancient tradition, hoping to find love the right way. And instead, I found chaos, comedy, and a lot of cringe. Listen to boys and Girls on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[Podcast Announcer]

This is an iHeart podcast. Guaranteed Human.