DJ Whoo Kid Tells All: G-Unit War Stories and The Making of '50 Cent Is The Future' June 1, 2002 marked the dawning of a new era in NYC rap. Fifteen years ago G-Unit released the mixtape 50 Cent Is The Future, produced by DJ Whoo Kid. Following the April 24, 2000 shooting that derailed the release of what should have been 50’s major label debut, Power of the Dollar, Curtis Jackson regrouped and started planning his hostile takeover of the rap game. His first mixtape release, Guess Who’s Back, came on the two-year anniversary of the near-fatal shooting. That tape comprised a mixture of tracks from the abortive Columbia Records project—including the crack game classic “Corner Bodega,” the Ja Rule dis track “Life’s on the Line,” as well as “Ghetto Qu’ran,” widely considered the reason that 50 caught nine bullets in the first place—as well as a selection of new songs recorded in Canada because 50 was allegedly “blackballed” from working in most NYC recording studios. Just over a month later, 50 and G-Unit would roll out the landmark project 50 Cent Is the Future, cementing their bond with Yves Mondesir aka DJ Whoo Kid, one of the most prolific and notorious mixtape DJs in the history of hip hop. He recently stopped by MASS APPEAL HQ for a very rare, free-flowing 90-minute conversasion. We already broke you off a small preview of his capers with Muammar Gadaffi and Donald Trump. Crazy at that was, it was only maybe 2 percent of the uncut raw war stories Whoo Kid shared in this exclusive interview. So read on to find out how a self-described “butt-naked kid from Haiti” made himself the scourge of record execs and the streets’ supplier of fresh sounds while hanging with rap stars and international playboys. It’s been 15 years since you and 50 dropped that tape. Paint the picture for us. How did that project come together? That’s the first collab with me. That tape was me actually getting hired as the DJ. ShaMoney XL was his manager at that time. I was already putting mixtapes out, hiding from artists, leaking songs with Envy and DJ Clue so… Wait, why were you hiding from artists? Because me, Clue, and Envy, we were leaking like unfinished songs from Jay Z, Nas, B.I.G.—who was alive at the time, whoever else that we ransacked from studios and magazine companies. I don’t wanna shout them out but… because the labels used to send them the albums to rate them. Give them 5 stars or whatever, so… Or 5 mics let’s say… Well, we know where we got that from now. [Laughs] But the thing is those guys weren’t getting paid as much. They were interns, they got bullshyt money, but a guy like me or Envy or whatever—Envy kind of like did all the dirty work for Clue ’cause he was already established with Jay Z. He was the guy that went out and got the songs… and another guy named Splash. I used to pay these guys like 500 bucks for all—cause the labels, we kind of like changed the game when they would ink the songs with their drops. They would send these guys one-verse-songs, like it would be the whole album with only one verse so they could rate the song. But one verse is all we need. A verse and a hook—that’s the song. So we didn’t give a fukk if we didn’t have the whole song. Give the guy 500 bucks and they’ll give us every album. Nas, Outkast, Biggie and we would leave and go home and pick the best songs and leak ’em in the streets. Isn’t that how “Benjamins” first came out? “Benjamins” was—well, a lot of the Biggie and Tupac, or whoever: Jay Z, Nas. We would have… The label things were from the magazines, but the unfinished stuff was from the studios. Once again, these guys weren’t getting paid. The studio workers, the engineers. I’d go in there give em’ 300 bucks, 500 bucks—that’s more money than they’d make the whole week dealing with these loser, established artists. So they would give me like the DATs. I would have like 3-4 hour DATs of them working, talking, unfinished stuff, them starting a project. That’s how I did the Biggie “Realest nikkas” with 50. Cause I had a DAT from Trackmasters, which had all kinds of songs on there. But you know, when you’re a DJ and you’re just bored at home and you’re waiting for your tapes to sell, you was going through shyt. So I could hear Puff arguing with Biggie going crazy, cursing. Stuff I can’t talk about because if I talk about it Puff might kill me. For some reason one day I went further down, more toward the end of the DAT, cause you know those DATs are like two hours. So I don’t know why I went towards the end, and it was like a [Biggie] record that Trackmasters produced called “Realest nikkas.” Then I called like four-five people to make sure… cause I stole whatever I had to steal from that DAT a while ago, so I probably thought there was nothing left. Then I heard this verse and I hear Biggie spazzin’ out and I’m like, “I never heard this verse before.” So I called like five people. I even called, like, Andre Harrell, Russell Simmons. Cause I knew a lot of industry heads. They were like, “Nah, I never heard this.” You know, Chris Lighty—God bless the dead—I called him and he was managing 50 at the time, but he didn’t know what I was doing. I just called him and told him the verse. Everybody was like, “I never heard the verse.” So I got with Red Spyda, did the beat real quick—boom boom boom. I call 50 and I was like, let’s do this. We already leaked “P.I.M.P. Remix,” we had “Wanksta,” we had “In Da Club.” We had all them freestyle songs, whatever he did over. So I just threw a Biggie and 50 song on Hot97—that’s when I was working at Hot97. So imagine like Funkmaster Flex leaving, then I go on. Puff was in his office chillin’… all of a sudden, I timed it right where before I get off air, I know I’m about to leave. So I did my regular show, then at the end I played the Biggie and everybody in their car is crashin’. Angie Martinez is like “What the fukk is that?” DJ Enuff, whoever was like a radio personality, stopped their car on the highway and was like… [!!!] The funniest thing is to think that Puff was in the office. I had already done a mixtape with Puff, and he did mad drops for me. So to make matters worse I put a Puff drop on the intro. In the mixtape he’s like “Yeah, DJ Whoo Kid, Bad Boy Shadyville collaboration.” So I put that in the intro and that’s not even him being in the studio, that’s from a mixtape. So I solidified it by putting Puff. [Laughs] You know 50 don’t give a fukk; he did the song. It was perfect cause he went at Ja Rule in the song—again. Can you imagine Puff in the office, and he never heard this Biggie verse? So he’s flipping tables trying to figure out who did it. I’m hurrying up to play it, once I played it I’m out. There’s a secret elevator in Hot97 where all the p*ssy DJs go down, so they don’t get beat up for leaking shyt. I was always on that elevator. So I escaped immediately the back way. By that time Puff figured it out and was on his way to Hot and I’m already long gone. After that my show was pre-recorded. Usually when I leak a big record I pre-record the next three weeks. So you can’t find me for weeks anyway. So here I am on the road with 50 killing shows and Puff is looking for me for weeks like, “fukk is this nikka at? I’ll kill this nikka!” So he never heard… Yo, can you imagine Puff Daddy who was like—he is B.I.G.—and he never heard that Biggie verse? But I have it and I’m putting it out, and it’s everywhere. I knew it was really bad when I went to Africa to do a festival for Nelson Mandela, like a charity event. So I played “Realest nikkas” in Africa, and then the whole fukkin’ place… that’s when I knew that this leaking records shyt is some serious shyt. When you’re in South Africa and you have Nelson Mandela here… I had all kinds of leaders with me, and when I played that song… Like, this is our first time in Africa and they’re going crazy. There was no internet back then. There was no social media. I guess the hype and the rumors were so crazy that 15,000 African men—cause there’s no women at these concerts—there’s, like, slippers flying everywhere. That’s another reason people call me Whoo Kid, because they never knew who the kid was that was leaking all the songs. In reality, I got the name from my mother taking shyt and my father like, “Whooey!” So that’s how I got my name. It was just coincidence that I was stealing songs, so I don’t know—maybe it was just fate. Everything is just fate. I used to see 50 beating up drug dealers across the street from my house, he was the fat kid beating them up, getting money back. I’m over here, Haitian kid, watering my lawn. So if you imagine like ten years later I’m with this guy doing 50 Cent Is The Future like, you don’t see shyt like that. On my block Tupac used to walk by when he was in Digital Undergound. Nas, Biggie, they used to get songs from Tall Stretch. But a lot of major drug dealers was on my block too. A lot of them are dead now, but 50 Cent used to come up there and beat everybody up on his little baby ninja. He was like 300 pounds on a little-ass baby ninja. Pull over, beat everybody up… I’m just looking at this guy beating people up, never thinking that ten years later that I’m gonna be with this guy in front of like, 30,000 people. It’s just mind-boggling how this hip hop shyt is not planned. That’s why he created Gods Plan, he created like 50 Cent Is The Future, he created all these titles. Cause’ those mixtapes go with, like, what we experienced with this random, fate shyt. You can’t just be like “Yo, this is what we’re gonna do, this is what we’re gonna see” you know, dealing with like terrorists. We performed for Qadaffi, we hung out with like, come on, Nelson Mandela! I would never thing doing a mixtape that I’d be hanging out with Nelson Mandela. That’s such a bugged-out image. G-Unit with Mandela in Africa is bizarre to me It was the illest shyt ever. That’s when I knew this shyt is serious man. When I got back I was like “Yo…!” But let’s get back to how I started me doing 50 Cent Is The Future. I took you off topic, but that’s alright. I had to tell you that story. That shyt is outta control. I’ll tell you the end result of Puff, how he finally found me, later on. So 50 Cent Is The Future was the first time I got hired to work with 50, to DJ for 50 and start the mixtapes. For that first tape I actually handed my drops to Sha Money, cause he was putting it all on Pro Tools—whatever was the earliest version of Pro Tools. He did it, so I actually didn’t mix that. When I first came to meet 50 he had just finished healing from his shooting. You say 50 was fat when you first met him? That was way before. We used to call him BooBoo… He was like 300-something pounds. So how did he get so diesel? When they shot his ass and he was on a liquid diet and he lost it. You know they shot his mouth. Yeah, can’t eat. Sha Money was like “You gotta go meet him,” but I’m like “Damn, I gotta go see him? He got shot in his face… Like, his mouth.” I thought I was gonna see, like… I don’t know, Frankenstein or some shyt. I’m thinking he’s gonna be like spitting blood at me. So I’m like, “I don’t wanna meet him. Just say I’m his DJ.” But Sha insisted. “Nah, you gotta go see him!” so when I go see him, all I saw was like a dimple and I was like… “Yo! I thought he was gonna look really bad.” I guess they did a good job. He was like, “I’m ready to get back at it. Get ready!” But at that time we weren’t even on Eminem’s shyt. Everyone was just sweating the freestyles. So 50 was like “Yo, I need a fukkin’ DJ. I don’t care who it is, but we ain’t doing no interviews, we ain’t doing no trials and auditions. It has to be like a blood relative. We’re getting every gun possible, every Uzi, bulletproof vests, and we’re gonna go on this hood tour, like 300-city hood tour. Every dirty club, shoot em up, bang bang. But I need a DJ. I just got shot the fukk up, I’m back now. Who should I hire?” And Sha Money XL was like “Well, Whoo Kid is my cousin.” So that’s when he just called me out of nowhere.