Now that Hip-Hop is 40 years old, there are countless aspects of the culture that deserve to be documented and collected in one convenient location for future generations. Books have covered the graffiti, businesses, and emcees, and now we have a comprehensive volume on the artwork used by DJs and rappers for their mixtapes–The Art Behind The Tape. DJ Mars and Bril Ndiaye (co-writer) have interviewed all of your favorite mixtape DJs and compiled the cover art from the essential mixtapes for this book.

Before Datpiff and Soundcloud, people would create their own mixtapes of either their favorite DJ shows or purchase them from that one dude in the park. As Hip-Hop grew and grew, DJs and artists would put more time and effort into the presentation of the physical tape by investing in artwork. Now, mixtapes are considered by many as a free album, creating the need to slap an original piece of art on the cover. We were able to touch on these topics as well as others with the creators of this project, which started as a Kickstarter and now has led to partnerships with New Balance and New Era. Check out the interview below.

You can pre-order your copy of the book with a limited edition New Era snapback HERE.

What are some dos and don’ts for artists and DJs when putting together a mixtape (artwork, tracklist, etc.)?

Bril: The major do’s is being creative/original and having a concept when it comes to your mixtape. Have drops, blends, cuts and all the other elements needed to make a classic.

DJ Mars: I would say the main don’t is, if you are an artist and you are putting together a mixtape make sure there’s a DJ mixing your music. There’s nothing cornier then an artist putting out a mixtape and there’s no mixing. And for the DJs, please stop using sound effects to cover every transition. They are called mix tapes for a reason. Mix please!

What is it about Hip-Hop as opposed to other genres, that has allowed the evolution of the mixtape (you don’t see mixtapes in Country, Jazz, etc.)?

Bril: I think because of the genre itself Hip-Hop started off underground, and from the streets; it would only make sense for elements of the genre do the same thing. The mixtape culture begun from people wanting to have a party outside of the club or the park. Hip-Hop will always take a different route from other genres of music when it comes to presentation because the streets and youth determine that.

DJ Mars: MIXTAPES are a part of the fabric of Hip-Hop. Since the late 70s it has been how music was heard outside of traditional formats. The culture demands ways for the Hip-Hop public to hear their music outside of the radio. In order to hear a Cold Crush park performance you couldn’t rely on the radio. You had to get that park jam tape. Other musical formats don’t have that thirst for new music like that!

How do you explain the switch from a mixtape composed of freestyles over industry beats to creating mixtapes of solely original music?

Bril: I think the turn of 2000s was the time when this change happened. Before then, it was more about a collecting the hottest freestyles and exclusives like Kay Slay, Clue, Envy & other New York mixtape DJs did to create a mixtape. 50 Cent was really the artist who changed the game with his artist driven tapes. I think the success and buzz behind him made DJs and artists change their direction on how they created and marketed mixtapes. That’s why I consider 50 Cent the Godfather of the Mixtape Culture.

DJ Mars: I think artists probably wanted to put product out that was soley theirs. Some of these projects are probably secretly funded by the record labels and they are disguised as mixtapes. Because there are budgets to pay producers for theses new beats, I’m sure a label is involved on some level.

How have you seen mixtape artwork evolve over the years? Has it changed with cultural trends? Politics? Regional shifts in Rap (New York, South, West)?

Bril: There is a drastic difference in how mixtape artwork is presented now. The main reason why it evolved is because of how import mixtapes became to the Hip-Hop culture. As the value increased so did the presentation in the mixtape artwork. In the start of the mixtape game, Park Jam Tapes were just stamped, if that, to show the DJ and possibly the date of the event. It grew from there to adding the tracklistings, and little artwork to full fledged Artwork. I think a lot of credit goes to DJs in the late 90′s & designers–the DJs for adding concepts to their mixtapes & the designers for executing those concepts to the actual covers.

DJ Mars: The graphics have definitely gotten better. At first the images were simple and crude. Initially it was the DJs name along with a date,that was written with a stamp or even a pen. One of the first designers I started to recognize was Mr. H from P Type graphics out of Queens. I think Clue was the first person I’ve seen use him. As DJs came up with concepts for their tapes, the artwork had to reflect that. Nowadays some of the artwork is better then some of the artists’ album covers. You have to thank guys like Rob PETROZZO for that. He really made covers living pieces of art. PROPH BUNDY, MF designs, Miami KAOS, and Kid Eight have really changed the game as well.

Pen & Pixel may be the most well known artwork company in Hip-Hop? What is it about their style, in your opinion, that made them so popular for so long? Why has no one filled that gap in Hip-Hop?

DJ Mars: I don’t think their artwork was that good to be honest. They had a style that was matched with a movement. Master P put out a record a month for years on end, so we saw their work on a regular basis. Their brand of art was attached to a movement that we all liked. Independent of that I don’t think the world really loved their work. Respectfully!

At some point in time, the mixtape went from being a tool of the DJ to a tool of the emcee. When and why did you see that happening?

Bril: 50 Cent in the early 2000′s is really where the power of the mixtape was split between the DJs and the artists. He showed all artists that you can create an all artist driven mixtape without the help of a DJ. That was innoative to the culture. He kept the original elements of a mixtape and added on to it. Technically you can call what he did was create the first Street Album.

DJ Mars: You have to credit 50 Cent for that. He pioneered the street album movement. He took it all the way to the bank. Others got involved in that as well (Dipset, D Block, Jeezy, Drake). 50 hit the world so hard with it and everyone else kinda followed the formula.

What are some of your favorite mixtapes, based on the cultural significance as well as just the artwork?

Bril: A lot of favorite mixtapes come from the early and mid 2000s when I was in college in Atlanta. P-Cutta Street Wars Series were classic because he had mixtapes full of diss records and responses on every tape. Jadakiss-The Champ Is Here, Joe Budden-Mood Muzik Series, G-Unit Mixtape Series, TI and the PSC- In Da Streetz Series and of course being in the ATL, Young Jeezy-Trap or Die. Trap Or Die was an epidemic throughout the country but definietely in the ATL. Every car, store front, DJ, club was playing that mixtape 24/7 at that time. I also love the Best of‘s and Blend Tapes. Mister Cee & Rob E Rob have classic Best of tapes. Ron-G, DJ Hot Day, and Grandmaster Vic have amazing blend tapes & remixes.

DJ Mars: My favorite mixtape of all time is Kid Capris Old School Part 2! In some respects that tape taught me how to DJ. After that I would say DJ S&S’s Get Your Swerve on, Ron G’s mix series and of course Doo Wop’s 95 Live. I am a party DJ so those tapes that sound like parties are more of my favorites then anything else. The artwork doesn’t make a tape my favorite. For me it’s all about the DJ and what he’s doing on the tape.

What have you learned about Hip-Hop and the phenomenon of the mixtape after working on this book?

Bril: Growing up in Los Angeles, mixtapes weren’t as prevalent like on the East Coast but you knew & heard of all the major Mixtape DJs. Shoot, technically my 1st mixtape was technically an album–DJ Clue-The Professional 1. I’ve learned so much about the mixtape culture creating this book. But the research and history informed me even more about all these legendary mixtape DJs. Each one had unique stories on how they created/helped build the mixtape culture. It shows how the mixtapes are forever intertwined with the Hip-Hop culture. I think majority of the Hip-Hop artists today have utilized the mixtape circuit to build their careers. I think this book will show this generation the full gamut of a mixtape. A lot of kids now, don’t know that media personalities like Envy, Clue, Vlad, Clinton Sparks, Skee, and many others grew from the mixtape culture. It also shines a light on some DJs who don’t always get the recognition they deserve.

DJ Mars: I’ve learned that Hip-Hop is far from over. Kids are using the medium to express themselves and the globe is eating it up. Kids buy and download tapes all over the globe. I was in Tower Records in Japan and saw DJ Whoo Kid mixtapes on sale. I was in South Africa and heard a DJ Drama x Don Cannon mixtape playing in a sneaker store. The movement truly is global.

Where would you like to see artists taking the mixtape next in the game? What’s the next level?

Bril: I think artists should just countinue to use mixtapes as a vehicle to get their music out to the masses. The artists shouldn’t also forget the DJs in creating some of their mixtapes. I would love to see more DJs really mix on their mixtapes more to show this generation more of a variety in the mixtape game.

DJ Mars: I would like to see artists stay true to the term “mixtapes.” If you are putting out product, calling it a mixtape, make sure there’s a DJ involved. It’s super corny to me to not do that. Then make sure the DJ is actually mixing from one record to the next. A good DJ can make a record sound better if he knows what he’s doing. Keep it authentic and let’s push the envelope.

Are there plans to cover other aspects of Hip-Hop? History of the freestyle? Or the remix?

Bril: I think there is still so much to cover pertaining to mixtapes still. Freestyles and remixes are also definitely important parts of the culture that need to be highlighted but the mixtape culture is what we are trying to highlight right now.

DJ Mars: Yes sir. We have some more ideas up our sleeve. There are so many untold stories within Hip-Hop. We intend to tell them all!

Bryan Hahn can’t wait to get his copy of The Art Behind The Tape. He’s also on Twitter (@notupstate).