When a DJ Green Lantern project drops, it still feels like an event. Not because the music industry demands it, not because an algorithm forces it, but because certain names carry a weight that cuts through every era.
We call him the Evil Genius for a reason. Green helped define the early 2000s — an architect of the mixtape golden age who amplified the voices of giants like Nas, Eminem, and Jadakiss, and brought a cinematic touch to DJing that influenced everyone who followed.
I rang up Green this past Sunday afternoon to discuss his exclusive Apple DJ Mix, Half-Man, Half Amazing. A perfect warm-up to Light-Years, Green’s blend tape matches Nas’ vocals with DJ Premier production so naturally it feels like these records were always meant to meet.
It’s been on repeat for me since it dropped — and will be until midnight strikes. I suggest you do the same. Classic hip-hop. No skips. No delay — press play.
Green, this project took me back. People were texting me like crazy — it felt like a classic mixtape drop. Did you feel that energy?
Hell yeah. It was wild. I was like, “What is this?” But I reminded myself — it’s just a mix. Coming from the era where mixtapes were full of exclusives, this was different, but it felt right: mixing tracks people know but adding new elements.
How challenging was it to re-present these tracks? Many of us know these records. Reworking classics isn’t easy.
It was a huge challenge, especially for our generation who knows every reference. Scratches, transitions, Premier cuts — everything had to be done right. I had to do it justice. Once I started, I realized this wasn’t just an idea: it was an assignment.
You first got the call from Apple in October, right?
Yeah, but the concept started a few months before. Then in October, I got the green light and the resources to make it official. Honestly, I was slightly apprehensive. I didn’t want it to look like I was riding someone else’s wave. The hip-hop industry can be jaded, and I wanted to respect the moment.
So I framed it: “Yo, this is an assignment. You asked me to do this.” I wanted to make it clear — this is a blend tape. No exclusives. No originals. Just doing it right. A straight-up blend tape. Nothing more, nothing less — and that’s exactly what makes it special.
Man, top to bottom, it’s flawless. I’m still figuring out my favorites. Any mixes that stand out to you?
Track 7: “Blaze A 50” with “3 Tha Hard Way” for sure — shout out to Bahamadia. Then track 12: “Ten Crack Commandments” with “Count Me In,” and track 23: “Moment Of Truth” with “Watch Dem.”
I focused heavy on ’96-’97 Nas: It Was Written, I Am… sprinkled in some extras. I even did research to make sure I didn’t miss any hidden gems.
The tape’s ending is smooth yet abrupt — like a perfect closeout.
Yeah, I hit a wall with time, but it loops back to the top. That abruptness actually feels cinematic — it’s like the mix itself is alive.
Technology now lets you pull a capellas from almost anything. How has that changed your approach?
Techniques on this tape weren’t possible two years ago. Now I can strip elements and boost kicks. In the old mixtape era, we were limited to vinyl a capellas — DIY stuff was always imperfect. Now the technology is insane. I can isolate stems, rebuild tracks, enhance clarity — make everything sound like a movie. Timing couldn’t be better for this project.
So this era unlocks creativity in ways you couldn’t have imagined.
Exactly. But here’s the thing — everyone has the tools, but not everyone can do this. That’s what separates a DJ from someone just playing tracks. It’s about taste, vision, and making it feel alive.
You talked about responsibility. How do you feel presenting these classics to a generation that might not know all the Nas or Premier tracks?
Man, it’s a gateway. This tape is bait on a fishing pole. Younger listeners hear it, get curious, and explore the catalogs. They feel the scratches, transitions, sequencing. It shows them the artistry. I hope it inspires them to dig deeper and understand why these records hit.
You’ve been DJing for Nas for a while now. Favorite live moments?
MSG and Yankee Stadium. MSG was months of work, meticulous preparation. Yankee Stadium came together in two days, but the energy was unreal. Both shows had their own magic, and each taught me something different about presentation, crowd connection, and timing.
After Light-Years drops, we might need a sequel. Do you have enough material?
So much artillery. I could run a whole sequel, no problem. Tracks, remixes, obscure gems, and hidden Premier cuts nobody’s heard in a modern context. The catalog is deep — this is just the tip of the iceberg.
The project also spotlights the artistry behind DJ culture, right?
Absolutely. DJing isn’t just playing tracks — it’s sequencing, blending, scratching, and storytelling. This project showcases that while giving new listeners a blueprint for why DJs still matter in hip-hop.
And even with new tech, you’re still preserving the feel of the classic mixtape era.
Exactly. The aesthetics, transitions, energy — it all honors what we grew up on. Technology just amplifies the vision. But the heart? That’s old-school. That’s the soul.
It’s about preservation, celebration, and inspiration. Preserving the work of legends, celebrating the artistry that made us love hip hop, and inspiring the next generation — DJs, producers, fans — to explore and create. It’s a bridge between eras. Great music doesn’t stay in the past — it evolves and continues to educate.
Couldn’t have said it better. This project feels like a statement, not just a tape.
That’s exactly what it is. It’s a statement of respect, skill, and love for the culture. And I hope people recognize that.
Sidebar: A final word from Rob “Reef” Tewlow, the Apple exec who made this project happen:
“Green is great at what he does. He understands the weight of these classics and the responsibility of presenting them right. He’s showing younger fans how to experience artistry — that’s education through entertainment. We spent months going through catalogs, text marathons, planning every move. Green delivered a masterpiece that honors the old school while elevating it for today. He’s the perfect captain for this ship — no question.”
