Interview
Meet the Producer Behind Cardi B’s ‘Bodak Yellow’

Anthony Jermaine White aka “J. White Did It.” (Photo source: Instagram)
Earlier this week, Cardi B became the first solo female rapper to score a No. 1 on Billboard’s Hot 100 chart in nearly 20 years. The last artist to do so was Lauryn Hill in 1998 with “Doo Wop (That Thing).”
Cardi deserves a lot of credit for “Bodak Yellow,” but so does the track’s producer, Anthony Jermaine White aka “J. White Did It.”
The 32-year-old recently spoke with The Kansas City Star with about his struggle to achieve success and how the track came about. Here’s what we learned from the interview:
1. He’s a veteran producer.
“I started playing around and making beats when I was 16. Then in 2005 I moved to New York, where I started learning how to actually produce records. I stayed there for a year or so and then spent years living in different cities — L.A., Atlanta, Dallas — working as a producer. In that time I did records with a number of artists: Cardi B on her first mixtape, Plies, Pleasure P, LeToya Luckett, Yo Gotti, E-40, Juicy J, Too Short. Everybody but Jay Z (laughter).”
2. He almost quit producing before he made “Bodak Yellow.”
“At the beginning of 2016 I was in a bad place. Everything felt like it was falling down on me. In 2015 my mom was murdered, my relationship with the mother of my kids was bad, I was broke. I wasn’t getting credit on records that I had worked on, the industry wasn’t giving me any chances. I was just wanting to give up on everything — producing, life, all of that. Knowing all of this, one day my cousin tells me to come to New York to clear my head. So I go, and one day my mentor Shaft (a New York entertainment veteran and one half of Cardi B’s management team) invites me to his house, and Cardi was there. Me and her start talking about her music, and eventually she asks me do I have any beats. And you know, I didn’t know too much about her at the time, but I thought, hey, she’s got a following. She’s got a look. She’s very charismatic and crazy (laughter). I was at rock bottom. I had nothing to lose. So I decided I would give her all my best work. I decided that day to put all my eggs in the Cardi B basket. And I guess you can say those eggs cracked (laughter).”
3. He knew that “Bodak Yellow” was going to be big.
“When I was making the beat, I was like, ‘Yo, it’s something special about this track!’ And when we got the song done, I immediately started shopping for a new car (laughter). No but really, our whole team felt the record was going to do something major, but I didn’t know it was going to shake the culture. You always shoot for the stars, but I didn’t know we was gonna get the sun.”
Related: Watch the Producer of A Boogie Wit Da Hoodie’s ‘Drowning (Water)’ Explain How He Made the Track
Boi-1da Talks Producing, Dancehall, Drake, and More

Boi-1da inside his home studio. (Photo credit: Renée Rodenkirchen for coveteur.com)
Heavyweight music producer Boi-1da was recently featured on Pensado’s Place, a YouTube talk show about music production.
The Jamican born, Toronto raised hitmaker is best known for being one of Drake’s in-house producers. Among his biggest productions are Drizzy’s “Best I Ever Had,” Eminem’s “Not Afraid,” and Rihanna’s “Work.” Some of his latest projects include G-Eazy’s “No Limit,” Kendrick Lamar’s “The Blacker the Berry,” and Drake’s “Controlla.”
Boi-1da discussed a variety of topics with hosts Dave Pensado and Herb Trawick, including how he got his start, dancehall’s influence on him, his production process, working with Dr. Dre and Drake, and more.
What he learned while working with Dr. Dre.:
“He’s just meticulous with the detail. Everything has to be said a certain way and it’s not going to stop until it’s perfect. He just keeps going … It’s almost crazy but it’s Dr. Dre. This is his process so I wasn’t even going to question it.”
His inspiration for producing “Controlla”:
“That beat came about from just being inspired by dancehall music. I was having a conversation with a bunch of producers that I work with. I was telling them I really miss dancehall and what it used to do to me when I was a kid when my dad used to drive around with me and play dancehall music in his car. And new Sean Paul songs would come out and Beenie Man. I used to love them. Those are some of my favorite artists. So I really missed that feeling and the feeling of people dancing in the club, you know, because people don’t dance anymore. Songs like that and ‘Work’ kinda brought back people, women gyrating in the club.”
On how Drake influenced his approach to beat making:
“I look at it like a painting. As a producer/beat-maker, you have to create the canvas for the artist to paint a picture on. If there’s too much on the canvas, there’s not really any room for an artist to paint his picture. It has to be like a half and half thing … I learned that from working with Drake. He’s always subtracting something.”
Watch the full interview below (it begins at the 19:00 mark).
Here’s a breakdown of the topics:
– How living in Canada has influenced him (19:30)
– Winning beat battles and getting discovered at 17 (21:45)
– How Dancehall music influenced him (23:00)
– His thoughts on Trap music (25:53)
– Thoughts on EDM (26:58)
– His go-to collaborators (27:23)
– His production process (28:25)
– Producing “Pound Cake” for Drake (29:50)
– Working with Dr. Dre (30:53)
– Working on “Blacker the Berry” (32:30)
– The people that mix his records (34:00)
– The making of “Controlla” (35:41)
– His preferred 808 (37:17)
– His go-to plugins (38:05)
– Working in Fruity Loops (39:30)
– How often he makes beats (40:03)
– When he knows he’s done (42:20)
– Quantizing beats (44:00)
– Focusing on detail (45:37)
– His preferred picks for a super song (46:15)
– Working on the Lana del Rey album (47:07)
– One word answer game (48:25)
– Advice for young producers (50:00)
– Overcoming self-doubt (53:35)
Related: Drake Talks Meek Mill, Kanye, and Dr. Dre in Interview With DJ Semtex
Watch JAY-Z’s BBC Radio 1 Interview and Performance

JAY-Z performs at the Meadows Festival in New York City. (Photo credit: Jack Gorlin)
Following his appearance at the Meadows Festival in New York City, JAY-Z traveled to the U.K. to chat and perform on BBC Radio 1. During the candid conversation with host Clara Amfo, Hov discussed his 4:44 album, fatherhood, social media, Donald Trump, and more.
The rapper performed “Family Feud” from 4:44 and his classic collaboration with Linkin Park, “Numb/Encore.” Hov was joined by his longtime engineer, Young Guru.
Watch the interview and performance below.
Related: JAY-Z Talks Making 4:44, Working With No I.D., Kanye West, and More in Extensive Interview
Latin Trap Continues to Rise, Despite Lack of Radio Play

Bad Bunny (Photo source: Facebook)
Latin trap continues to rise in popularity despite a lack of radio support, Rolling Stone writes in a new article.
The genre, which is a response to current trends in American rap, is led by artists like Ozuna, Farruko, Bad Bunny, and De La Ghetto.
“[Latin trap is] popping in the streets right now with zero radio airplay,” says Horacio Rodriguez, VP of marketing for Universal Music Latino. “It’s a counter-culture of young kids listening to this music.”
“You and I could be having this conversation 15 years ago about reggaeton,” acknowledges Victor Martinez, president of Hispanic Broadcasting Radio, when asked about the lack of Latin trap songs on the airwaves. “It would be the same conversation: We have problems with the lyrics, with the raunchiness.” Martinez adds that Latin trap artists “don’t put out clean versions.”
Yet, despite the lack of radio play, Latin trap has caught the attention of American singers and rappers. “We’re already getting calls from mainstream artists that want to remix or work with our Latin trap artists,” Rodriguez says.
Although it’s not Latin trap, Becky G‘s Bad Bunny-assisted single “Mayores” is currently No. 32 on Billboard’s Latin Airplay chart.
In terms of the big picture, Latin trap is diversifying the Spanish-language hip-hop scene, which has been dominated by reggaeton for over a decade. “Latin music has needed something new and fresh for a long time,” says Luis Rivera, program director for Latino Music at Music Choice, which controls audio and video content for cable TV subscribers.
Watch the music video for Farruko, Bad Bunny, and Rvssian’s new single “Krippy Kush” below.
Related: Watch Ozuna, Farruko, Bad Bunny, and More Discuss the History of Latin Trap
Meet Globalization’s Program Director, Edwin Paredes (DJ Phenom)

Edwin ‘DJ Phenom’ Paredes at SiriusXM’s headquarters in New York City.
Last week, DJcity launched a contest with SiriusXM and Pitbull to find a new U.S. mixer on the network’s Globalization channel. The winner of the competition will receive their own year-long mixshow, along with a Pioneer DJ DJM-S9 mixer and Serato license pack.
Launched on SiriusXM by Pitbull in May 2015, Pitbull’s Globalization takes listeners on a “musical journey of rhythm around the world.” Its daily mixers include Big Syphe (Pitbull’s former DJ), DJ Rawn (former Power 106 mixer), and DJcity’s Kidd Spin and DJ Santarosa. Other mixers include BBC 1Xtra’s MistaJam, Mad Decent’s SpydaT.E.K, and KIIS FM’s DJ Drew.
We spoke with Edwin “DJ Phenom” Paredes, president of DJcity and program director of Globalization, to learn more about how the channel operates.
How does Globalization differ from other stations/channels?
It’s like we took every hot song from every popular radio station and jumbled it into one 24/7 channel. Not only that, but Globalization is bi-lingual, and sometimes we add music with languages other than English and Spanish. But the biggest difference is our DJ roster and mixshow style. Big Syphe and I have handpicked everyone on air. When I was given the green light to mold the station’s sound, I knew what I had to do: pick the best-skilled DJs across the world, pick the right daily time slots for fans across the nation, and give everyone a one-hour show to bring their A-game. Four of our mixers are on Monday to Friday. Those DJs are Big Syphe, Rawn, Santarosa, and Kidd Spin. The rest of our DJs have special weekday and weekend slots. We even have an all-female Monday to Friday mixshow called the “Diva Mix Hour.” Those ladies are better than a lot of the male DJs I know. But overall, we came up with our own fresh programming, and the fans are loving it. It’s a new age in radio and music discovery, and I want to cater to that audience but also give fans the Pitbull party and old school style they love.
How does your background as a DJ guide you as a PD?
Growing up in Los Angeles I listened to two main stations: Power 106 and KIIS FM. They helped mold my ear into the open-format style. The DJs on air were incredible, and I always wanted to practice and learn to be just like them. I used to stay up late or wake early to record DJs E-Man, Rawn, and Richard Vission (Powertools) from Power 106, and Drew from KIIS FM. I would use my two-deck tape recorder to edit out the commercials. I would then take the mixes to school and share them with friends. Eventually, I picked up some DJ gear and some club residencies in LA. One, in particular, lasted four years. I was there Thursday to Saturday opening up the night for a predominately Latin American crowd. That’s where I really trained my ear to play everything from hip-hop and house to ‘80s and Spanish rock to old school and new music without losing the crowd. Any DJ that really knows how to hold it down has mastered how to keep the early crowd engaged without burning the headliner. Sometimes I would do the whole night on my own and on those nights I really learned how to stretch the open-format sound for the four hours I was on. I use that model to help me pick the music and program how it airs on the station. I imagine the same club fan and program the station to what they might like. The difference is now it’s millions of listeners across the U.S. and Canada.
What is your process for adding new tracks to the channel’s playlist?
The management at the station votes on submissions. That team includes Big Syphe, Disko Drew, Kidd Spin, Santarosa, and myself. I also talk to many DJs from the radio and club world on a daily basis. I have the luxury of having my worldwide peers pitch me good music all the time. DJcity’s charts are a key part of what I look at on a daily basis to discover new tunes. I also look at the U.S. radio bible know as Mediabase, the Billboard charts, the iTunes charts, the Spotify charts, and I listen to new music I get from labels and artists directly. I watch how the music is moving in all of those areas regularly. If it’s doing well, I share it with my team and give it more shine on air. If it doesn’t seem to be moving anywhere else, I have a quick discussion with my team and either remove it or give it another chance. I also take notes from other PDs at Sirius XM. Geronimo, who runs BPM, is incredible at picking new music. His partner Dre, who runs Electric Area and a few other stations, is also on the cutting edge of dance music. Ron Mills is the hip-hop bossman that runs Shade 45, Hip Hop Nation, and a few other legendary channels. My main boss and contact is Kid Kelly, who heads up all the pop stations, hosts the Hits 1 radio show, and programs multiple stations across Sirius XM. I have the benefit of his guidance, and he always makes time to show me the tricks of the trade using our programming software. If you ever get a minute to chat with Kid Kelly, please make sure to use it wisely and soak up as much knowledge as possible. Learning from him and all of the other PDs has been a true honor.
What do you look for when adding a new mixer to the team?
I look for people who think outside the box but also follow the rules. I look for people who keep the same energy at minute 45 as they do when they kick off their sets at the beginning. I also look for people who know how to jump between different cultures, specifically English and Spanish. I get surprised when DJs only focus on one or two genres. I like clean mixers that can jump between them all seamlessly.
How much freedom do the mixers have?
A lot. They have a list that we curate and have a few tracks that they need to hit during their one-hour sets. But for the most part, they have a lot of creative freedom. I tell them to keep it funky and energetic. I ask them to play on air as if it was a major club. I think it creates a healthy competitive vibe among our team which brings out the best in everyone. But we all support each other. I make sure the energy among the crew stays positive.
Enter DJcity, SiriusXM, and Pitbull’s Globalization contest here.
Related: Pitbull and DJcity Launch Contest to Find ‘Globalization’ Mixer
Watch Dillon Francis Take the Hot Ones Challenge
Dillon Francis is the latest celebrity to take on First We Feast’s Hot Ones challenge. The series challenges guests to answer questions while they eat spicy hot wings.
Among the topics discussed were Francis’ prank war with former Hot Ones guest DJ Snake, his bromance with Diplo, and doing Crossfit with Skrillex. He also weighs in on celebrity DJs and talks about his wild tour rider.
Dillon recently made his acting debut on Viceland’s TV comedy, What Would Diplo Do? In August, he dropped a Moksi-assisted remix to his single “Say Less” featuring G-Eazy.
Watch Dillon take on the challenge above.
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