Whoo Kid is having a blast. The gregarious mixtape DJ and G-Unit pugilist from Queens Village, N.Y. has turned his knack for making popular, though technically illegal, compilations into a lucrative way of life. “Everybody knows me for playing new shit,” Whoo Kid says. “Most of my fan base is at a worldwide basis, so everybody's waiting for the new shit that comes out of my batch.”
Today, Whoo Kid is in Brooklyn's Beat Street Records picking and choosing records he needs before heading overseas. It's an easy task except for one record, R. Kelly's reggaeton heater “Burn It Up,” which is bubbling at clubs. Unfortunately, the version on display features G-Unit nemesis Fat Joe. “What a jerk!” exclaims an exasperated Whoo Kid when he's told Joe's verse opens the record. “If Fat Joe's in the beginning, I definitely can't play it.”
Problem solved when after some discussion (and at Whoo Kid's insistence), store staffers locate a version sans the deal-breaking verse. His persistence must mirror his early days of angling for exclusive music that fostered his popularity and helped him stand out in an overcrowded mixtape market. “A lot of these DJs, they're just happy with the little money they make,” Whoo Kid says. “I'm trying to stay here forever. I'm still selling Murder Mixtape Part 1-3 [with Stretch Armstrong], and that's like nine years ago. All my CDs still move.”
Whoo Kid's confident tenacity also helps make any fallout from 50 Cent's many beefs minimal at most. “As you can see, there are some records I couldn't pick,” Whoo Kid says nonchalantly while checking out tracks. “But they're wack anyway. Not to say that all the records are garbage; I'm not an ignorant DJ, but I'm not playing nobody's enemies. I love Fif for life. We originated the mix-tape formula where we use it to market our artists and ourselves.”
He certainly takes his words to heart. He still drops mixtapes full of all-new music at a steady clip, and the success of his recent collaboration with Kool G. Rap, Dead or Alive, has led to similar projects in the works with Rakim, Big Daddy Kane and KRS-One. Then there are two radio shows, on Sirius (Shade 45) and New York City's Hot 97, and his own Shadyville Entertainment, which books DJs and markets new artists.
A sizable part of his riches stems from his party DJing, however, with the day's purchases at Beat Street not being fodder for mixtapes but for rocking crowds. “I'm an impact DJ,” he explains. “I only DJ for one hour, and I usually come on when its mega packed. That's why a lot of DJs don't like me, the local ones. Sometimes they don't want me to go on. They love the fact that they're rocking a packed crowd. But my pockets is packed, so keep on at it pal. They came to see me, not you, chump.” The commentary is harshly arrogant, but he delivers it with a wit that makes it damn near endearing and thoroughly entertaining.
“Window Shopper” (G-Unit/Interscope)
Of course I have this record already, but [if] I don't promote 50 Cent, I will get murdered. So I will make-believe I don't have this record right now. And “Window Shopper” is the hottest song out there. Be advised, only on my mixtape is the remix with Mase on it. I'm buying it for the 100th time. Re-up baby, top of the world.
“Touch It” (Aftermath/Interscope)
I'm copping “Touch It” due to the fact that this is a hit record out here, and I had a ménage a trois in Paris — I was doing a G-Unit afterparty, an illegal one without 50 Cent knowing — because of this record. It's a very easy song to understand. They speak French there, but they heard “Touch it, touch it,” so it's self-explanatory. Thank God ménage a trois is the only phrase I know in French. [Laughs.] I got the bootleg, so I might as well cop the real one today.
“Willie Bounce” b/w “Spin Ya Rag” (VP)
The other side is [produced by] Lil Jon. Highly commercial record. Thanks to [Beat Street's] June, she always hides something in the back for me, and she makes everybody happy. She's a reggae expert, mainly. She be winding on me every time I come here, but that's another story. This is a hot record, and without this, you can't really be popping right now. I got two extra records hidden in the back [of this stack] because I be stealing from this place, and they never know. They think 'cause we stars, we don't steal. This is how we do it, and we going to sneak out of here with these records and get it poppin'. [Note: Whoo Kid didn't really steal anything during the trip to Beat Street.]
“Ass Like That” (Shady/Interscope)
I have to buy this record right here due to the fact that in two days I gotta DJ at Eminem's wedding. If I don't have this record right here, I'm an asshole. Eminem loves calling me an asshole. Every time he calls me on my radio show on Sirius, he must degrade me. But I have to get this record. It makes the girls crazy, especially those trailer chicks man — they love it.
“I Just Wanna Love You (Give It to Me)” (Roc-a-Fella)
You don't have to be a DJ; you just gotta put this shit on. Before you start playing your crazy hits, you gotta play this right here. Sometimes they can't believe you're playing it 'cause it's a classic, but once it comes on, you can't go wrong. A gangsta crowd — can't go wrong. A white crowd — can't go wrong. A mediocre crowd — can't go wrong.
LL COOL J
“Doin It” (Def Jam/Import)
This is obviously an import from England. Shout out to everybody that's robbing chains out there in London. Thank you for not robbing mine. It's a miracle that Beat Street has it 'cause this record sells out every time. LL Cool J “Doin It” — hey, that's all I gotta say. I usually play it right after I play [50 Cent's] “Candy Shop.” It's still the same slow movement. Then once I place this, it's like a shocker — all the chicks get horny, especially Spanish girls. Harlem, shout out to Sue's Rendevous. Puerto Ricans, they love this record. When I put this record on, it's a wrap — Whoo Kid is getting laid. Thanks to LL Cool J, there's Whoo Kids all over the world.
“Have a Party” (G-Unit/Interscope)
The reason I'm buying this again is 'cause mine is so scratched up, and this is a hit record. You gotta be a dickhead if you don't play this at the clubs. I'm about to go to Australia, so I'm definitely going to need that. Especially [because] Mobb Deep is doing heavy promo right now. So on the Australia tour if you ain't got this, you're a big kangaroo, ya know what I'm saying? Every time it comes on, they go crazy.
PANJABI MC FEAT. JAY-Z
“Beware of the Boys (remix)” (Sequence)
This record right here kills it regardless. When I DJ overseas, it's a mixed crowd. It's not hood like in the U.S. When they hear Jay-Z over this beat, it still be banging. It has a nice long little instrumental that keeps everybody dancing. This is like my sixth time buying it. The loser DJs is overseas stealing from me — the ones that's hating in the club when I gotta take over their spot, and I get paid five G's, and they don't even get paid 300 Euros for eight hours. This is for the loser DJs, yeah.
“Burn It Up” (Jive)
I got the R. Kelly record “Burn It Up,” which every loser DJ in New York City is buying. [DJ Finesse went back there] and got me the original so everyone can be happy. Whoo Kid will not get beat up at the afterparty by his own artist.
Beat Street Records, 494 Fulton Street, Brooklyn, NY 11201; 718-624-6400;www.beatstreet.com