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Speaker 1: Hey, b La Talk fifteen eighty. That's the Poetus on

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the mic. I know, you know, but not only on

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the mic. She's in the studio. She started on radio

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at age five on KDAAM that was the sole station

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back in the Bay and her dad was a DJ there,

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popular DJ Johnny Morris. He's a well known engineer. She

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followed in his footsteps, went to La got on the

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air at Bailey broadcasting hip Hop Countdown Report, but also

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obviously one of the early early West Coast MC's. I mean,

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the bio is long, so we're gonna do it live

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on the mic. Poet is good Morning.

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Speaker 2: She's also the more Studios and also an old co

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worker of Dominiques. Yes, indeed the old radio station we

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were at together and a lot of people thought we

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were the same person.

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Speaker 1: Yeah they did. They used to mix us up. It

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still happens, actually happened to me.

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Speaker 2: I always get the Tupot credit and always oh man,

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you were on Tupot. Nah, that was my girl Dominie.

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Speaker 1: Interesting. Yeah, well, I don't know what they credit me for.

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They always just they think I'm you. I had a

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guy introduce me as you on the mic about six

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months ago had a poetry slam. It's wild, right, and

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it's like and with us tonight, ladies and gentlemen, the

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poet is And I'm like, I love the poet.

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Speaker 2: Is, but I'm not the poet.

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Speaker 1: Okay, I'm not even a poetist.

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Speaker 2: But you are.

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Speaker 1: And you started you started doing poetry when you were

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a little kid. Yeah.

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Speaker 2: I wrote poetry at a very well, I guess about

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eight or nine I started.

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Speaker 1: And then you kept it going onto and you know,

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an actual record deal.

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Speaker 2: Yeah, I turned it into turned my poetry into lyrics,

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got with Def Jeff, and the rest is kind of

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history as far as my rap career. But I soon

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got into radio again after that.

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Speaker 1: So yeah, but I mean you made I think the

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first time we met was me interviewing you for my

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television in the Bay Area. Yes, as you know, when

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you were on your wrap front. Yeah, how do you

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feel when you hear that song? Now?

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Speaker 2: I still think it's beautiful. It's my tribute to black men,

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and I just love that song. It's like one of

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my favorite songs on the album. The album is out there.

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I did release it digitally a couple of years ago,

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and you guys were speaking about Ai earlier. I said, hmm,

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I can take the music out now and redo put

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some new music up under their old album. But no,

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I think the original album is great. A lot of

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good producers that were starting out then that are doing

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bigger things now.

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Speaker 1: So yeah, you know, I when I listened back to myself,

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you know, but way way back, I used to wrap,

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I think, oh man, that sounds corny. But Alonzo Williams

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was telling.

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Speaker 2: Me that's the baby theory.

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Speaker 1: You have to embrace it in the context of the

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times that that was it. I can't expect it to

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sound like you.

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Speaker 2: Know, and there weren't a lot of I don't think

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Bay Area female rappers at that time, so you were

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kind of like at the forefront of that.

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Speaker 1: Yeah, but I never had a deal I did. I

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shouldn't even say this. There is an EP out there

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somewhar with me on it, but you actually signed to

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a label and you know, toured and did the whole,

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the whole thing.

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Speaker 2: Yeah, I was one of the first female rappers on Innerscope.

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I was on a boutique label under Interscope just before

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Death Row got there.

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Speaker 1: Yeah, and that was people. It's you know again, it's

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hard to put it in a context because it was

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so different back then than it is now. First of all,

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we didn't have so many artists at all period like

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now you have hundreds and hundreds and hundreds of artists.

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Speaker 2: Yeah. And the difference I think back then too, is

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you had a variety to choose from. You had your

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fun rap, you had your political rap, you had your

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dirty rap. But now it all seems like kind of

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the same.

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Speaker 1: Do you think You don't think we still have all

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those kinds of raps. They're just not getting played on

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the radio.

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Speaker 2: That could be.

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Speaker 1: But I I mean, you know better than I do. You,

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I mean, much better job of keeping out of what's

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going on.

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Speaker 2: I really don't, to be honest with you, with the

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new music. I'm still stuck in the in the nineties

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and eighties at early two thousands.

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Speaker 1: Say that, But you got Anderson Puck and yeah, those

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guys are great, Yeah, of course.

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Speaker 2: But I mean in terms of the variety, I don't

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see a lot of it now.

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Speaker 1: Well, I you know, I always hope there is variety.

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I see it. I don't track as much as I

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used to at all, either, but I see it when

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I go out, you know, to clubs or whatever, or

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when I see when i'm when people send me stuff

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sometimes online, when it comes to the radio or what's

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you know, making the big playlists on Spotify. Yeah, there's

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a lot of uniformity, and it's clear that the labels

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are in control. Yeah.

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Speaker 2: Well, I kind of feel like the artists now they

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have more I think leverage when it comes to their

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music now. Really, all the label is doing now is

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just kind of giving you that extra push in terms

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of marketing and uh and promotion.

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Speaker 1: Maybe I should have said streamers, yeah, because they're really

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the gatekeepers now right.

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Speaker 2: Really, you can get your music out. It's the thing

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now is marketing. You know, before you need it, the

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producer you needed, the A and R person, you needed

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this and that. But now it seems like those things

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are obsolete and that it's it's all about the marketing now.

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And a lot of times the labels, I feel, are

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looking for people who already pretty much have a following.

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Speaker 1: Yeah. I mean we just see that in the in

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the entertainment business. You know, agents signing actors based on

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their followers rather than their skills.

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Speaker 2: That's the same thing with the same thing with hip hop, I.

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Speaker 1: Believe that to be true. But I mean with the

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fact that the streamers can manipulate who has sales and

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who doesn't. That's the reason I say that I think

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they are playing a gate care.

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Speaker 2: Yeah, that's a good point.

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Speaker 1: I mean you I think what you're saying is you

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can still break through if you've got that you know,

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if your little nas X and you got that following

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and you know how to get attention in this digital world.

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Speaker 2: Yeah, I think so.

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Speaker 1: So I want to you know, lately, even more than usual.

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And this is really because when Bone Thugs and Harmony

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got their star on the Hollywood Walk of Fame, it

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really made me start to think. And I was having

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some conversations with some women that I know that were

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around back then about the way that women's roles are

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minimized in hip hop. I mean, I you know, Bone

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Thucks and Harmony is a great group. They would have

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been a great group no matter what. But you know

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because you were there that you know, me and Mari

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Alma were the ones that brought Eric too into the

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beat because management wasn't trying to talk to him.

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Speaker 2: And then from I remember when he first played bone

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for me.

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Speaker 1: Yeah, same, and I.

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Speaker 2: Remember when he first brought them to the radio station.

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Speaker 1: I'm sorry, right, and that happened because me and Mari

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Alma put him in touch with management. Then he got

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the Ruthless radio show. Then he started playing whatever he wanted.

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The point is that at that particular function, the people

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that were there weren't even on the radio back then,

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and those of us sitting at this table.

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Speaker 2: It's always been kind of that way just through not

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just in radio, but it's just pretty.

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Speaker 1: Much no, not just radio. I'm not right about radio. Yeah,

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talking about the entertainment industry, hip hop specifically. You should

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have been there. I should have been there. The person

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that was on the mic is a great radio host,

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but he was working as a security guard at the

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time that came out. The other person that they're giving

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credit to wasn't even on the radio. The other station

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wasn't even on the air. So you know, I'm not

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a bitter person, but I feel like that is an

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example of the way that women, particularly Black women, are erased,

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and I don't want to sit here and let that happen.

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While I have a microphone. I want to amplify the

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roles that we played.

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Speaker 2: Yes, I again, I think I also supported a lot

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of artists. The good thing about me when I was

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working at the Beat, the programming department really gave me

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freedom to play what I wanted to play, and that

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was rare. None of the other DJ's really had that luxury.

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So I was able to break some records and play

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what I thought the LA audience would like.

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Speaker 1: So I feel, I mean ericat Easy had that luxury.

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Speaker 2: Yeah, well, no, the mix shows and the DJs the.

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Speaker 1: Had that luxury, and a lot of times they still do, right.

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Speaker 2: Not as much now everybody's got to play by a

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playlist and it's corporate now, and then the mixed shows,

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even the mix shows are controlled. Interesting.

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Speaker 1: But anyway, to your point, you did have a lot

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of freedom, and not just freedom, you had knowledge right

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of knowing who to give a shot to, of knowing

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who to call. And that's why I call you a

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hip hop historian. I don't know if you call yourself that,

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but I know you keep the receipts, you keep the interviews,

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you keep all of the video. I don't a lot

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of that stuff. I don't have it anymore.

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Speaker 2: So I know I have an archive of interviews that

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I've done over the last on to say, almost forty

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years now since I started. I was just saying, how

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wherever you saw me, you saw me with my recorder,

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my camera or something. So I was able to document

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a lot of the especially the West Coast hip hop

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in general, but primarily the West Coast history. So I

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had the opportunity to interview a lot of the legends

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before they pass, like Mixed Master Spade and Roger Clayton

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of Uncle Jam's Army. So and I will say, I

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am so blessed to have been around during that time.

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There's no way I would have wanted to be born

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in the two thousand. The poet is is here.

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Speaker 1: We got a lot to talk about. I got questions

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she's got to answer. We're talking with the poet is

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aka Felicia Moore. She's also the owner of Morris Media Studios.

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She helps people learn how to do podcasts and she

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produces podcasts.

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Speaker 2: Actually, I think I should.

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Speaker 1: Be mad at you because everybody's got a dog on podcasts,

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and who knew that everybody wanted our job? I mean

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even Barack Obama got a dog on podcast. Can y'all

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go get another job and let us radio people have

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the mic?

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Speaker 2: Please? Right? Right?

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Speaker 1: But you know.

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Speaker 2: I think it's awesome also a good thing because people

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can express themselves. A lot of people have stories to tell.

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I really enjoy being in the podcast producer space.

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Speaker 1: Do you ever get anybody that's just like, no, no, dude,

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you do not have it Because some people really don't

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need to have a podcast. I'm sorry, call me a broadcast.

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Speaker 2: No. Yeah, I think those people don't get it. They

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don't get it. It's like, you really have to know

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who you're speaking to. You really have to have a

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reason and a purpose for doing a podcast. Some people

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do it because it's the end thing to do now,

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and some people just like to hear themselves talk. But

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it's really a good tool if you is.

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Speaker 1: It right, Morrismedia Studios dot com.

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Speaker 2: Yeah, so yeah, if.

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Speaker 1: You're not boring, or you are boring and you're really

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rich and you want to have a podcast, Morris Media Studio.

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Speaker 2: Yeah, we'll get you in the right lane. We'll get

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you not boring, right, We'll get you to where your

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passion is and what you want to share with people,

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because at the end of the day, when someone is

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listening to your podcast, they're gonna want to know what's

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in it for me. Am I being entertained? Am I

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being inspired? Am I being educated about something? So it's

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really a production just like your show, Just like any

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radio show. It's a production that you have to spend

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time and you know, commit to.

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Speaker 1: Funny forensic accounting two five nine says, as much as

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I love him, Kevin Hunter worked the hell out of

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the industry on Wendy Williams career, Dominique, who's your Kevin?

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You belong to the Radio Hall of Fame just as

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much as she, Yes, you do, thank you. But I've

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never had a manager, I've never had an advocate, and

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you know, Easy helped me when we first got here

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a little bit, just as a friend. But you know,

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I've been in these radio entertainment streets out here by myself,

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and I'm very very grateful that I've been able to

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work continuously and do what I love to do every

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day on the mic. You know, would I like to

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have more money, Yes, Would I like to have a

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national platform, absolutely.

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Speaker 2: And all those things are still possible, Dominique. What you

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had that others don't as longevity you have you have?

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You know, your name is known everywhere nowadays. People last

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five minutes. You don't know even And that goes for

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the music too. I was listening to Shout Out to

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DJ Battlecat. He was spending the other night somewhere and

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just the music he was playing was just so bomb.

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And I say, you know what, there's no really no

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music today. I'm not going to say all music, but

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some after they may last a week or two, would

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never beyond a year. You know, well, but there is

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there is hope for R and B music.

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Speaker 1: I'm not going to co sign that because I feel

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like there are talented m c's. But I understand what

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you're saying, not not, I mean.

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Speaker 2: We're not making classics. I would say less classics. Name

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a new artist that you can still remember their song

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from last year, a year before last. I mean J Cole, Well,

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he's an except I love by the way, yes, and

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I'm already I'm like on his older album.

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Speaker 1: I mean, yeah, there's somebody I'm not arguing. I'm not

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gonna argue rap with the poems because she knows way more.

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No you do to you, I do, I do.

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Speaker 2: It's an opinion.

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Speaker 1: So but you know, I was asking you how you

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feel hearing your music. Now I'm glad you still love it.

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You were definitely one of the first on the West

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Coast to record and tour and be signed, right.

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Speaker 2: Can you do you think that? Is this just me?

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Speaker 1: Do you think that women get the credit for the

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roles that we played in the industry back then, whether

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it's as artists as you know, in front of the

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mic or behind the mic, because you've worked in both capacities.

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Speaker 2: Yeah, I don't think women get as much credit because

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we are behind the scenes. Well, a lot of us

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that are making power moves are behind the scenes. And

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it just it's just it's just when I was first

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starting out young and didn't know nothing, I was like,

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what is sexism? I ain't experience sexism while I'm doing

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what I do, and I was doing what I do.

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But as it got older and more knowledgeable, I go, oh, okay,

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had I been mail, this would have been this way

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or that way things would have been. Even now, dealing

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with clients and people that I associate with, it's just

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the whole different thing when they're dealing with a woman

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versus a man. And I'm a tough cookie, I don't play.

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I do things for the most part my way. But

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I don't think women get the credit that they deserve

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for all the things. Just imagine pulling women out of

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let's say just the entertainment business or music business. Would

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there be a Jackson five? You know, you got to

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think of Susan d Pasz. You got to think about

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women that were behind the scenes, that were making stuff happen.

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Speaker 1: Yeah, absolutely, you know. And it's not just credit. Some

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of it is opportunity. I mean, you're you're braver than

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I am because you to hang out more, you know,

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and you know, create more friendships with other with artists

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and stuff in the industry. And I I always felt,

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you know, alike at a disadvantage because if you did that,

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you got to be a tough cookie like you. And

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I'm you know, I don't know if I am a

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tough cookie.

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Speaker 2: You are.

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Speaker 1: I can be, Yeah, don't mistake my kindness for weakness,

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for sure are. But as far as you know you

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hang out, it's like, well, why are you here? Are

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you an artist? Are you somebody's girlfriend? Are you a groupie?

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And whereas if you're a man hanging out there, you're

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just one of the fellas, And a lot of industry

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opportunities come out that way, right, You're hanging out there,

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kicking it, they're smoking a blunt, they're doing this, they're

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doing that, and they're building and somebody gets a job

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and somebody gets an opportunity, and a lot of times

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we're not in those spaces because I'm not trying to

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be labeled as a groupie or a hoe or somebody's

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girlfriend or you know, and I'm not an artist, so

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I don't have that is really down to let me

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I'm a writer.

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Speaker 2: It's really how you carry yourself to like if you

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walk in a room and you have like this, you

339
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you know, command respect about yourself, that you're carrying yourself

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and that you're not like chasing these guys or whatever.

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It's really how you carry yourself. Because I've been in

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spaces where I was warned before I got there. Like

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when I worked temporarily for MTV, they sent me out

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to interview Lil Wayne, but they gave me this warning like, oh,

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he's this, he's that, be careful whatever, whatever, and so

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but when I got there, he was like one of

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the most respectful artists that I've ever interviewed. So it's

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really how you carry yourself. You know, when you walk

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into a room.

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Speaker 1: Okay, we can do a whole show on that.

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Speaker 2: Yeah, that's how I feel like. And then you command

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your respect. It's like they can think what they want

353
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to think. But if you're there to do a job,

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you're there to do a job.

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Speaker 1: Yeah, if you're there to do a job, you're there

356
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to do a job. But if you're there hanging out,

357
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you might get a job and you were just hanging out,

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that's my point.

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Speaker 2: Yeah, well, if you're just hanging out, that doesn't got

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your limits.

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Speaker 1: But what I'm saying is that's part of the glass ceiling,

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because you're less likely to be hanging out. You know,

363
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you might get invited for other reasons, or you might

364
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not get invited. I'm not I guess I am complaining,

365
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but I'm not bitter. I just see that as a

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reality of the industry. And as someone who has been

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as you well know, you know, a survivor of a

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sexual assault in the context of the industry, perhaps that

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made me give me a little shell shock about putting

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you know, whether I command it or not, putting myself in.

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Speaker 2: Well, I'm sorry that happened to you, Domini. I really

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am sorry.

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Speaker 1: Yeah, but that's it, and I don't like to make

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it seem like the reason I bring it up is

375
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not because oh woe is me. But if you're getting

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into this business and you think it happens, it's not

377
00:20:15,079 --> 00:20:16,519
all good. It's not all good.

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Speaker 2: I love my job. I love the business.

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Speaker 1: But yeah, understand that that you know.

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Speaker 2: Happens, and you gotta be careful and you got to

381
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be aware of what people's motives are. Yeah, you know,

382
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no doubt, no doubt.

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Speaker 1: Potus is here. I want to talk about some of

384
00:20:32,920 --> 00:20:36,440
the titans, some of the movers and shakers in the

385
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hip hop industry, especially women, but all of us on

386
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the West Coast k BLA Talk fifteen eighty. The Poetus

387
00:20:42,799 --> 00:20:47,359
is here. We are talking hip hop, and we're talking

388
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about your career and women in hip hop. These are

389
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all things that I just I feel like while I'm

390
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on the mic, I gotta keep saying this stuff because

391
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no one else will, at least not anybody that was

392
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there to witness it like you were and I was.

393
00:21:00,039 --> 00:21:03,839
So do you think are you on team hip hop

394
00:21:03,880 --> 00:21:07,119
has a birthday? Like? Do you celebrate August elect Because

395
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I don't. I think hip hop. I think every day

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is hip hop's birthday.

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Speaker 2: Yeah, I also feel it that's New York's birthday with

398
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my last birthday, you know, because really a lot of

399
00:21:22,400 --> 00:21:27,680
people don't know when New York was giving these basement

400
00:21:27,839 --> 00:21:31,279
and backyard and park parties. So was the West Coast

401
00:21:31,640 --> 00:21:33,039
thank you, you know.

402
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Speaker 1: Thank you because I was at those, you know what

403
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I mean with the linoleum and the card yes, and

404
00:21:39,599 --> 00:21:41,640
the you know, little drinks and bags.

405
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Speaker 2: Yes. I just think that I don't know if we

406
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can actually pinpoint a day where someone named it.

407
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Speaker 1: I'm not trying to hate on cool Herk. I just

408
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feel like hip hop was like mushroom spontaneously popping out

409
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of the ground all over US. I do believe it's

410
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the US black phenomenon. I know that there were Latinos

411
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and Asians there from day one contributing. I'm not hating

412
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on that. I saw it with my own eyes. But

413
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I just I don't know this idea that on this

414
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day and this one project, well, they.

415
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Speaker 2: Probably have to do that really for marketing, for you know,

416
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capitalism whatever.

417
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Speaker 1: Miles likes it because it's his birthday, you know, August eleventh,

418
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So I.

419
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Speaker 2: Get that, but I'm mad at that.

420
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Speaker 1: But like, to me, what is your hip hop origin?

421
00:22:31,640 --> 00:22:33,160
Story is the better question.

422
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Speaker 2: My hip hop origin story began when I moved to

423
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LA in nineteen eighty five. I met this female rapper

424
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named Lisa Love. She was the backup singer for the

425
00:22:51,480 --> 00:22:56,440
LA Dream Team, but they didn't allow her to like

426
00:22:57,000 --> 00:23:00,759
really do her skills. I mean, she was Puerto Rican

427
00:23:01,039 --> 00:23:05,440
sister from New York, but she rapped like no other.

428
00:23:05,759 --> 00:23:08,839
I was just like blown away when I heard her rap.

429
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And so I was writing poetry at that time, and

430
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so her and I we're gonna get together and write together.

431
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And unfortunately she passed away before we had the opportunity

432
00:23:22,200 --> 00:23:26,079
to do that, and so I just kept on, you know,

433
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writing and you know, rapping. Of course I was horrible

434
00:23:30,680 --> 00:23:36,359
back then, but Jeff helped me home my s no ugly.

435
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Speaker 1: Babies, No ugly babies. I love that. I got that

436
00:23:38,880 --> 00:23:41,440
from Alonza Williams. Yeah, yeah, yeah, yeah, because it was

437
00:23:41,480 --> 00:23:41,880
what it was.

438
00:23:42,079 --> 00:23:47,640
Speaker 2: Yeah. So my origins began in mid eighties sort of,

439
00:23:47,920 --> 00:23:51,359
you know, where I really started getting interested in the scene.

440
00:23:51,400 --> 00:23:53,799
And then by that time, when I moved out here

441
00:23:53,839 --> 00:23:57,039
from the Bay Area, you had people like Egyptian Lover,

442
00:23:58,039 --> 00:24:02,519
LA dream Team and Uncle Jam's Army and world class

443
00:24:02,519 --> 00:24:07,359
record crew, they Toddy T mixed Master Space. They were

444
00:24:07,559 --> 00:24:10,599
all doing their thing when I got out here, And

445
00:24:10,680 --> 00:24:13,799
when I came here from the Bay Area, I really

446
00:24:13,920 --> 00:24:17,000
literally just jumped in the mix because my dad was

447
00:24:17,039 --> 00:24:23,119
already on the air out here on KGFJ and I

448
00:24:23,160 --> 00:24:25,599
got into the mix earlier. And I just feel like

449
00:24:25,720 --> 00:24:28,119
I'm glad I got into hip hop at the time

450
00:24:28,200 --> 00:24:31,079
that I got into hip hop. And so my origins

451
00:24:31,160 --> 00:24:35,920
begins when I met a sister named Lisa Love, and

452
00:24:36,000 --> 00:24:41,319
she inspired me to want to become a rapper. Yes,

453
00:24:41,599 --> 00:24:44,440
and she was so dynamic. And then I teamed up

454
00:24:44,440 --> 00:24:48,279
with Deaf Jeff and he kind of was my mentor

455
00:24:48,400 --> 00:24:52,039
and helping me. Yep, I still talk to Joff. Shout

456
00:24:52,039 --> 00:24:54,200
out Deaf Jeff. Shout out to Deaf Jeff.

457
00:24:54,599 --> 00:24:57,640
Speaker 1: Yeah, Okay, So we were talking. We've been talking about

458
00:24:57,680 --> 00:25:00,440
the industry and a little bit how women get I

459
00:25:00,480 --> 00:25:03,720
would say, erased in ways that we should not. And

460
00:25:03,839 --> 00:25:06,480
you mentioned, you know, Lisa Love and how she helped

461
00:25:06,519 --> 00:25:09,279
you and you helped her. But we were also talking

462
00:25:09,279 --> 00:25:11,599
off the mic about how sometimes it can be tough

463
00:25:12,759 --> 00:25:15,079
the way women are pitted against each other or the

464
00:25:15,119 --> 00:25:18,000
way they pit themselves against each other.

465
00:25:18,440 --> 00:25:21,319
Speaker 2: Or they'll say we already have a female rapper in

466
00:25:21,359 --> 00:25:24,599
our group, or that was kind of like how the

467
00:25:24,680 --> 00:25:28,519
labels were too back then. They'll sign one female rapper

468
00:25:29,279 --> 00:25:30,400
and right, that's it.

469
00:25:30,480 --> 00:25:33,000
Speaker 1: We have our black women, thank you very much, and

470
00:25:33,119 --> 00:25:34,039
we only need one.

471
00:25:34,400 --> 00:25:36,799
Speaker 2: Yeah. Yeah, So and then we kind of were talking

472
00:25:36,839 --> 00:25:43,440
about how, you know, sexism also exists between each other,

473
00:25:43,680 --> 00:25:48,799
like there's times where females don't support each other like

474
00:25:48,839 --> 00:25:49,359
they should.

475
00:25:50,079 --> 00:25:51,920
Speaker 1: Yeah, and that's not just in hip hop, but it's true,

476
00:25:51,960 --> 00:25:54,039
that's an entertainment business and business.

477
00:25:55,839 --> 00:25:58,400
Speaker 2: But there are some supporters. I mean, I have some

478
00:25:58,480 --> 00:26:03,559
great female mental so I don't want to say, you know,

479
00:26:03,599 --> 00:26:05,240
there's not that either. Right.

480
00:26:05,920 --> 00:26:08,160
Speaker 1: My take on it is that the sisterhood is real.

481
00:26:08,880 --> 00:26:10,720
You know, you and I have supported each other over

482
00:26:10,759 --> 00:26:15,000
the years, and there's many other women that have open

483
00:26:15,079 --> 00:26:19,359
doors for each other. But I think we're groomed to

484
00:26:19,480 --> 00:26:23,000
not do that. Right. It's the reality TV of it all.

485
00:26:23,039 --> 00:26:26,160
It's the Real Housewives of hip hop. It's the you

486
00:26:26,200 --> 00:26:30,599
know the spectacle of women fighting and cat fighting, and

487
00:26:30,680 --> 00:26:34,039
so I like to talk about it from that perspective

488
00:26:34,039 --> 00:26:35,759
of we don't have to buy into that.

489
00:26:36,640 --> 00:26:43,160
Speaker 2: Yeah, no, we don't. We do not. I've maybe had

490
00:26:43,559 --> 00:26:48,039
a few female haters that I can think of off top,

491
00:26:49,000 --> 00:26:53,880
but for the most part, I've had a great sisterhood.

492
00:26:53,920 --> 00:26:57,240
I've had some great female mentor shout out to Legie

493
00:26:57,400 --> 00:27:01,519
a lot who gave me my first intern gig at

494
00:27:01,640 --> 00:27:09,200
RCA Jive Records, and also to Kathy Hughes. A lot

495
00:27:09,200 --> 00:27:11,759
of people, you know, have things to say about her,

496
00:27:11,880 --> 00:27:16,480
but I have nothing but respect and a good friendship

497
00:27:16,519 --> 00:27:19,200
with her. Oh I'm so glad to hear that.

498
00:27:20,079 --> 00:27:27,079
Speaker 1: Yeah, next topic, Okay, you know I did work with

499
00:27:27,440 --> 00:27:29,920
for miss Hughes when I was on Steve Harvey Moore.

500
00:27:30,000 --> 00:27:32,839
And that's the thing, is like that she is a

501
00:27:32,920 --> 00:27:33,839
radio pioneer.

502
00:27:34,640 --> 00:27:39,119
Speaker 2: Yes, And I'll say this, she probably had to do

503
00:27:39,279 --> 00:27:41,759
and I'm gonna I'm not just saying her she had

504
00:27:41,799 --> 00:27:44,000
to fight and do what she had to do to

505
00:27:44,039 --> 00:27:48,960
get where she is now. And I'm sure she fought

506
00:27:49,599 --> 00:27:53,240
because she started I think maybe in the early eighties

507
00:27:53,400 --> 00:27:54,680
she started a company.

508
00:27:54,720 --> 00:27:57,440
Speaker 1: If I'm not mistaken, it might have been before that. Yeah,

509
00:27:57,519 --> 00:28:00,759
but yeah, No, she was in radio because she was

510
00:28:00,799 --> 00:28:01,759
at Howard and all.

511
00:28:01,880 --> 00:28:04,480
Speaker 2: I just think she she had to go through to

512
00:28:04,519 --> 00:28:09,400
get where she is now. In a male dominated situation.

513
00:28:09,920 --> 00:28:13,279
Speaker 1: I agreed, And you know what, I admire her for that.

514
00:28:13,680 --> 00:28:17,200
I think that the important thing for me is that

515
00:28:17,240 --> 00:28:21,319
we yeah nineteen eighty you're right, Radio one started Urban

516
00:28:21,359 --> 00:28:26,920
one now October third, nineteen eighty boom. Yeah. She was

517
00:28:26,960 --> 00:28:30,680
an historian. Yeah, and I get that. I just refuse

518
00:28:30,839 --> 00:28:33,799
to you know what, I'm not going to say that.

519
00:28:33,839 --> 00:28:36,680
I'm going to I'm going to keep it classy. Yeah, well,

520
00:28:36,759 --> 00:28:37,680
you keep it classy.

521
00:28:37,759 --> 00:28:43,440
Speaker 2: The other thing, too, is like you can't let being

522
00:28:43,480 --> 00:28:48,720
a woman being an excuse for not succeeding. Like we

523
00:28:48,759 --> 00:28:53,519
can say easily that we were hated on or discriminated,

524
00:28:53,599 --> 00:28:56,200
but we have to find a way to get passed.

525
00:28:56,559 --> 00:28:58,720
Speaker 1: No, I don't think it should be an excuse either.

526
00:28:58,759 --> 00:29:00,640
But what I'm trying to do is shine light on

527
00:29:00,680 --> 00:29:02,720
those who did the work, who are doing the work,

528
00:29:03,000 --> 00:29:05,880
because to me, that's the remedy. You know, whether you

529
00:29:05,960 --> 00:29:08,680
made it or you didn't make it, that's subjective. The

530
00:29:08,759 --> 00:29:11,000
question is if you did the work, are you getting

531
00:29:11,000 --> 00:29:12,039
the credit right?

532
00:29:12,079 --> 00:29:14,720
Speaker 2: And so that's so that's what I'm talking about.

533
00:29:14,759 --> 00:29:17,359
Speaker 1: I'm not talking about being embittered or going oh I

534
00:29:17,359 --> 00:29:20,400
would have been you know, Charlemagne the Goddess. If it

535
00:29:20,440 --> 00:29:24,119
wasn't for these sexists, well, if that's not what God

536
00:29:24,200 --> 00:29:27,759
had that, if that wasn't my assignment, I do believe

537
00:29:27,759 --> 00:29:29,839
my blessings have my name on them. But I do

538
00:29:29,960 --> 00:29:33,440
like to shine the light we were talking about. Jacqueline

539
00:29:33,440 --> 00:29:35,920
Anderson says, miss my bro general Jeff when it comes

540
00:29:36,000 --> 00:29:36,519
to hips.

541
00:29:37,200 --> 00:29:39,640
Speaker 2: Yes, indeed, and he raised me not only just a

542
00:29:39,759 --> 00:29:46,799
hip hop pioneer, he was actually a very outspoken homeless advocate.

543
00:29:48,079 --> 00:29:51,559
So I love me some General Jeff. Yeah, rest in

544
00:29:51,599 --> 00:29:52,519
peace too soon.

545
00:29:53,519 --> 00:29:57,160
Speaker 1: So on that note, we were talking.

546
00:29:57,000 --> 00:30:00,640
Speaker 2: In general Jeff. By the way, for y'all they don't know,

547
00:30:00,920 --> 00:30:03,319
was part of rotteno in Joe Cooley.

548
00:30:03,680 --> 00:30:06,519
Speaker 1: Right right right right right before he turned before he

549
00:30:06,559 --> 00:30:09,839
turned into a dedicated homeless activist and sort of stepped

550
00:30:09,880 --> 00:30:12,440
away from the hip hop world. Poetus is here when

551
00:30:12,480 --> 00:30:14,359
we come forward, I want to shine a light on

552
00:30:14,440 --> 00:30:18,279
some women that we think deserve more respect. I mean

553
00:30:18,319 --> 00:30:22,319
Kathy Hughes's legendary. People do know her. She has created

554
00:30:22,319 --> 00:30:25,720
a radio empire in as you say, a man's world,

555
00:30:25,759 --> 00:30:27,400
so we give her respect for that. But I think

556
00:30:27,440 --> 00:30:30,480
most people know about miss Hughes a radio one, But

557
00:30:30,559 --> 00:30:33,160
there are some folks, and we won't get to all

558
00:30:33,200 --> 00:30:35,440
of them, but I want to shine the spotlight on

559
00:30:35,480 --> 00:30:38,279
at least a few that should get more love. We're

560
00:30:38,279 --> 00:30:40,799
doing that all morning because Poetus is here.

561
00:30:40,920 --> 00:30:42,920
Speaker 2: Oh yeah, yeah, you're.

562
00:30:42,759 --> 00:30:47,839
Speaker 1: Listening to Klap fifteen to eighty. Felicia the poetis Morris

563
00:30:47,920 --> 00:30:52,160
is here. You can find her at Morrismedia Studios, Morris.

564
00:30:51,839 --> 00:30:55,799
Speaker 2: Media, morrismediastudios dot com. You can find me at og

565
00:30:56,000 --> 00:31:03,440
poetis on Instagram and on Morris Media Studios, also on Instagram.

566
00:31:03,759 --> 00:31:08,200
If you are looking to even if you're just thinking

567
00:31:08,240 --> 00:31:10,519
about a podcast, hit me up on an email. I

568
00:31:10,559 --> 00:31:13,519
do do free discovery calls where we can just hash

569
00:31:13,559 --> 00:31:20,880
out your idea. Email me at contact at morrismediastudios dot com.

570
00:31:20,960 --> 00:31:23,279
Even if you've just been thinking about it and trying

571
00:31:23,279 --> 00:31:25,079
to decide if it's the thing you want to do,

572
00:31:26,319 --> 00:31:27,400
let's talk about it.

573
00:31:27,519 --> 00:31:30,240
Speaker 1: Okay, all right, all right, stop looking at me.

574
00:31:30,480 --> 00:31:30,799
Speaker 2: Okay.

575
00:31:30,960 --> 00:31:34,920
Speaker 1: Before we do some shout outs here to women that

576
00:31:35,000 --> 00:31:37,240
deserve it, I have to ask you the question that

577
00:31:37,279 --> 00:31:40,599
I've been pondering, which comes first, the hip hop or

578
00:31:40,599 --> 00:31:44,400
the politics? Does the politics influence the rappers? In other words,

579
00:31:44,480 --> 00:31:48,559
the activists on the streets and or those lawmakers, or

580
00:31:48,640 --> 00:31:52,359
is it the artists and the hip hop movement and

581
00:31:52,400 --> 00:31:55,119
the music that's influencing the politics.

582
00:31:55,640 --> 00:32:01,559
Speaker 2: I definitely think it's the politics influencing the rappers, because

583
00:32:01,640 --> 00:32:06,559
I remember, like back in the late eighties early nineties,

584
00:32:06,599 --> 00:32:09,440
we had a lot of political rap. I even considered

585
00:32:09,519 --> 00:32:13,880
n WA to be a political group, even though some

586
00:32:13,920 --> 00:32:19,400
people think otherwise. But we pretty much reported what was

587
00:32:19,440 --> 00:32:23,599
going on in politics, especially like with Public Enemy, they

588
00:32:23,599 --> 00:32:28,680
always talked about Bush and things of war and things

589
00:32:28,759 --> 00:32:32,920
of that nature. So I think hip hop was sort

590
00:32:32,960 --> 00:32:37,799
of a reflection of what was going on politically at

591
00:32:37,799 --> 00:32:38,400
that time.

592
00:32:38,720 --> 00:32:42,599
Speaker 1: Yeah, I mean, in many ways still is whether you

593
00:32:42,720 --> 00:32:44,519
like what's going on or not as much.

594
00:32:44,599 --> 00:32:52,160
Speaker 2: Though I don't hear very many artists talking about Trump to.

595
00:32:52,200 --> 00:32:54,359
Speaker 1: The good to the bad. I mean, I'm talking about

596
00:32:54,359 --> 00:32:57,279
like Nicki Minaj going all up in under his coat

597
00:32:57,400 --> 00:33:01,039
tails and people seeking pardons and such. So we might

598
00:33:01,079 --> 00:33:04,119
not think of it, you know, necessarily always on the

599
00:33:04,160 --> 00:33:07,960
positive side, but it's still embedded in the in the

600
00:33:08,000 --> 00:33:09,880
political world.

601
00:33:10,319 --> 00:33:12,720
Speaker 2: Yeah. And I just was mentioning to you because we

602
00:33:12,720 --> 00:33:16,839
were talking about women women's roles, and I want to

603
00:33:16,880 --> 00:33:23,680
shout out to all the black women fighting in Washington

604
00:33:23,880 --> 00:33:28,039
every day that are just you know, standing tall and

605
00:33:28,079 --> 00:33:32,240
strong and just forced to be reckoned. With a shout

606
00:33:32,240 --> 00:33:37,759
out to all the black women officials and politicians.

607
00:33:37,319 --> 00:33:41,039
Speaker 1: Summer Lease, the Maxine Waters is, the Ayanna Presley's Yes

608
00:33:41,079 --> 00:33:41,720
we see.

609
00:33:41,480 --> 00:33:45,279
Speaker 2: You, Jasmine Crockett, AOC, all of them that are just

610
00:33:45,319 --> 00:33:53,799
standing up to the man, not the man, the man

611
00:33:54,920 --> 00:33:55,440
poet is.

612
00:33:55,559 --> 00:33:58,000
Speaker 1: Okay, let's let's do some you know, we don't really

613
00:33:58,000 --> 00:34:00,480
do shout outs, but let's do some shout out. I mean,

614
00:34:00,559 --> 00:34:05,319
one one such I would say is Sheena Lester, who

615
00:34:05,319 --> 00:34:07,519
happens to be one of your best friends. Yes, but

616
00:34:07,599 --> 00:34:11,400
she's one who's been in hip hop for many years

617
00:34:11,400 --> 00:34:14,239
and I think probably doesn't get the shine she should get.

618
00:34:14,599 --> 00:34:20,760
Speaker 2: No. Sheena was the editor in chief of Rap Pages

619
00:34:22,320 --> 00:34:27,519
back in the early mid nineties, and she really was

620
00:34:27,599 --> 00:34:33,360
one of the most ethical people that I met and know,

621
00:34:34,559 --> 00:34:37,440
because I know at that time people were paying for

622
00:34:37,639 --> 00:34:41,079
magazine covers and that kind of sort of thing with

623
00:34:41,360 --> 00:34:43,280
other hip hop magics.

624
00:34:43,360 --> 00:34:45,320
Speaker 1: Right back when, back when the record labels used to

625
00:34:45,400 --> 00:34:47,079
have a lot of money, they used to throw it

626
00:34:47,079 --> 00:34:48,000
around right people.

627
00:34:49,679 --> 00:34:51,840
Speaker 2: They used to be having pies. They would send me

628
00:34:51,880 --> 00:34:55,119
out to interview people out in different states. I loved it,

629
00:34:55,639 --> 00:34:59,320
but Sheena didn't play that. She You had to earn

630
00:34:59,400 --> 00:35:02,920
the cover, you had to earn the story. I remember

631
00:35:04,920 --> 00:35:09,920
she did a review and she didn't personally. She hired

632
00:35:09,960 --> 00:35:13,679
writers to do a review, and someone gave an unfavorable

633
00:35:13,800 --> 00:35:18,599
review to Tupac and he called our house. We were

634
00:35:18,679 --> 00:35:22,280
roommates by that time, and he called and left a

635
00:35:22,360 --> 00:35:28,760
threatening message on our voicemail. I think we still might

636
00:35:28,800 --> 00:35:33,360
have that that little mini cassette somewhere with that message

637
00:35:33,360 --> 00:35:39,400
on it. But yeah, he called and threatened Sheena because

638
00:35:39,400 --> 00:35:41,559
he got an unfavorable review.

639
00:35:41,719 --> 00:35:43,719
Speaker 1: And of course she's still writing and doing her thing.

640
00:35:44,000 --> 00:35:49,000
Speaker 2: Yeah, she's editing. She's still one of the top editors

641
00:35:49,800 --> 00:35:55,039
in the business. She's worked went on from Rap Pages

642
00:35:55,119 --> 00:36:00,440
to work with Hip Hop three sixty when Russell's Women's

643
00:36:00,440 --> 00:36:03,920
put that out. She also worked a Vibe and and

644
00:36:04,000 --> 00:36:08,400
The Grio and a bunch of other publications. So I

645
00:36:08,400 --> 00:36:13,519
would say editing is her passion. But she's also passionate

646
00:36:13,840 --> 00:36:18,320
about black brewers, so she's kind of moving into that

647
00:36:18,320 --> 00:36:25,440
that lane of supporting black brewers. What a name.

648
00:36:25,519 --> 00:36:28,320
Speaker 1: A couple other women that you think are underrated and

649
00:36:28,480 --> 00:36:33,320
or don't get the shine. They shouldn't dominy. Yay, Okay,

650
00:36:33,400 --> 00:36:34,440
thank you girlfriend.

651
00:36:35,840 --> 00:36:39,599
Speaker 2: Think about that one.

652
00:36:40,159 --> 00:36:43,719
Speaker 1: I think about a Cassandra Ware that was her name

653
00:36:43,760 --> 00:36:45,920
from Ruthless Records. She did a lot of work there

654
00:36:45,960 --> 00:36:49,719
building a label, worked with Easy Yes, but she don't.

655
00:36:49,760 --> 00:36:53,079
I didn't see her at the Hollywood Walker firm Harborer.

656
00:36:53,679 --> 00:36:55,960
Speaker 2: I just haven't seen her in a while.

657
00:36:56,440 --> 00:36:59,719
Speaker 1: Yeah, I'm not sure what she's up to, but she

658
00:36:59,719 --> 00:37:03,519
she was a vice president at Ruthless.

659
00:37:04,159 --> 00:37:10,320
Speaker 2: Yeah. Yeah, I will say this, live your passion, do

660
00:37:10,360 --> 00:37:13,679
your passion, and don't worry about getting the credit. I mean,

661
00:37:13,800 --> 00:37:17,280
it's what is credit at the end of the day.

662
00:37:17,400 --> 00:37:22,000
Is that gonna? I mean, I'm not saying everybody wants

663
00:37:22,000 --> 00:37:25,000
their credit and they're just due, but a lot of

664
00:37:25,079 --> 00:37:28,079
us get caught up on I can get my props,

665
00:37:28,719 --> 00:37:28,960
you don't.

666
00:37:29,159 --> 00:37:31,280
Speaker 1: No one wants to be a bitter old pioneer. I'm

667
00:37:31,280 --> 00:37:33,719
not saying that, right, but we have the mic, so

668
00:37:33,840 --> 00:37:34,360
let's show.

669
00:37:34,559 --> 00:37:39,880
Speaker 2: But yeah, I I'm trying to think, like, really, I

670
00:37:39,920 --> 00:37:44,400
know that Sheena was one that was instrumental in writers.

671
00:37:44,079 --> 00:37:46,039
Speaker 1: You know, Danielle Smith. I guess she gets a lot

672
00:37:46,079 --> 00:37:47,440
of love.

673
00:37:47,559 --> 00:37:48,360
Speaker 2: She could get more.

674
00:37:49,039 --> 00:37:53,079
Speaker 1: You know, she's from the baby no getting no comment.

675
00:37:53,280 --> 00:37:58,760
Speaker 2: She hated on my girl, so yeah, t T.

676
00:37:59,400 --> 00:38:02,920
Speaker 1: But she's an other writer, y so someone who was

677
00:38:02,920 --> 00:38:06,000
there in the early days and that she was indeed.

678
00:38:06,039 --> 00:38:12,079
Speaker 2: Her just do props to so but yeah, m hmm.

679
00:38:12,400 --> 00:38:16,119
Speaker 1: Okay, Well we only have a minute and a half here,

680
00:38:16,159 --> 00:38:19,559
but I since we're not gonna do a shout out

681
00:38:19,559 --> 00:38:20,840
list what.

682
00:38:21,119 --> 00:38:24,239
Speaker 2: I wasn't prepared and sometimes I'm not that great off

683
00:38:24,320 --> 00:38:26,000
the top of the head, but I do want to

684
00:38:26,039 --> 00:38:29,760
shout out all the women that have encouraged me. Shout

685
00:38:29,760 --> 00:38:34,519
out to my mom and and the women that gave

686
00:38:34,599 --> 00:38:39,239
me opportunity. And maybe I'm out of like a block

687
00:38:39,400 --> 00:38:43,079
now because we were and always have kind of been

688
00:38:43,440 --> 00:38:49,440
in a male dominated field. So any like major moves

689
00:38:49,519 --> 00:38:54,000
or promotions for me were done by men. Unfortunate.

690
00:38:54,480 --> 00:38:57,280
Speaker 1: All right, I'm not mad at that, but but you

691
00:38:57,400 --> 00:39:01,440
still unprevailed. Okay, So I we only have thirty seconds,

692
00:39:01,480 --> 00:39:03,519
so I can't I was going to ask you how

693
00:39:03,559 --> 00:39:07,519
you were feeling about this Tupac trial happening now, but

694
00:39:07,719 --> 00:39:09,960
we don't really have enough time. You can give me

695
00:39:10,159 --> 00:39:13,800
just one sentence for reaction. If I just think it's

696
00:39:13,920 --> 00:39:16,920
it's a circus at this point. I mean, I think

697
00:39:17,000 --> 00:39:20,800
all of this information was known back when he first

698
00:39:20,840 --> 00:39:23,719
passed away, So why are we dragging this out?

699
00:39:23,880 --> 00:39:26,159
Speaker 2: What is it thirty years? Forty years now?

700
00:39:26,480 --> 00:39:29,079
Speaker 1: Yeah, so the question is what are we doing? It's

701
00:39:29,119 --> 00:39:31,679
thirty I think. Okay, yeah, so what are we doing?

702
00:39:31,960 --> 00:39:34,800
Speaker 2: Yeah? Yeah, okay, good, Remember to hit me up at

703
00:39:34,840 --> 00:39:38,280
og poet Is and Morris Media Studios if you're thinking

704
00:39:38,320 --> 00:39:41,079
about doing a podcast. That's what we do all day,

705
00:39:41,119 --> 00:39:41,599
every day.

706
00:39:42,239 --> 00:39:44,679
Speaker 1: Yeah. Well, I mean, actually we did pretty good. We

707
00:39:44,719 --> 00:39:47,519
still got another minute if you want to say something else. No,

708
00:39:47,639 --> 00:39:50,079
but that was kind of my reaction. And Miles Stt

709
00:39:50,239 --> 00:39:53,000
was talking about why now, you know, just in turn

710
00:39:53,199 --> 00:39:56,360
time for you know, the thirtieth anniversary and all this

711
00:39:57,280 --> 00:39:59,760
marketing type stuff, and my thing was I felt kind

712
00:39:59,800 --> 00:40:03,079
of so I'm hoping that I'm just not jaded, but

713
00:40:03,159 --> 00:40:06,519
I think hearing you say that, maybe that's it's like, yeah,

714
00:40:06,639 --> 00:40:08,119
if you have been doing for the past.

715
00:40:07,920 --> 00:40:11,199
Speaker 2: Three decades, well known knowledge over the decades, it's like

716
00:40:11,360 --> 00:40:15,199
this is not new, you know. And so and again

717
00:40:15,280 --> 00:40:17,440
I feel bad because I didn't run down my list,

718
00:40:17,519 --> 00:40:20,079
but well, there's a lot of women have to come back,

719
00:40:20,159 --> 00:40:22,360
a lot of women out there. You got work, you

720
00:40:22,400 --> 00:40:25,760
got instruments. So thank you for your work and all

721
00:40:25,840 --> 00:40:28,639
the crap you had to put up with. All right, but.

722
00:40:28,719 --> 00:40:32,360
Speaker 1: Here we are still standing, still thriving, still working in

723
00:40:32,400 --> 00:40:35,280
the business. God bless yes, God bless America.

724
00:40:35,280 --> 00:40:38,719
Speaker 2: And thank you always being support of Love you, sis I,

725
00:40:38,800 --> 00:40:39,400
love you more.

726
00:40:40,000 --> 00:40:42,719
Speaker 1: All right, News, traffic and sports, and then we're going

727
00:40:42,800 --> 00:40:46,679
to talk about a mystery that was not thirty years

728
00:40:46,679 --> 00:40:51,280
in the making, the strange and curious case of Black Maga.

729
00:40:51,920 --> 00:40:54,519
That's next on KBLA Talk fifteen eighty