Hey, b La Talk fifteen eighty. That's the Poetus on the mic. I know, you know, but not only on the mic. She's in the studio. She started on radio at age five on KDAAM that was the sole station back in the Bay and her dad was a DJ there, popular DJ Johnny Morris. He's a well known engineer. She followed in his footsteps, went to La got on the air at Bailey broadcasting hip Hop Countdown Report, but also obviously one of the early early West Coast MC's. I mean, the bio is long, so we're gonna do it live on the mic. Poet is good Morning. She's also the more Studios and also an old co worker of Dominiques. Yes, indeed the old radio station we were at together and a lot of people thought we were the same person. Yeah they did. They used to mix us up. It still happens, actually happened to me. I always get the Tupot credit and always oh man, you were on Tupot. Nah, that was my girl Dominie. Interesting. Yeah, well, I don't know what they credit me for. They always just they think I'm you. I had a guy introduce me as you on the mic about six months ago had a poetry slam. It's wild, right, and it's like and with us tonight, ladies and gentlemen, the poet is And I'm like, I love the poet. Is, but I'm not the poet. Okay, I'm not even a poetist. But you are. And you started you started doing poetry when you were a little kid. Yeah. I wrote poetry at a very well, I guess about eight or nine I started. And then you kept it going onto and you know, an actual record deal. Yeah, I turned it into turned my poetry into lyrics, got with Def Jeff, and the rest is kind of history as far as my rap career. But I soon got into radio again after that. So yeah, but I mean you made I think the first time we met was me interviewing you for my television in the Bay Area. Yes, as you know, when you were on your wrap front. Yeah, how do you feel when you hear that song? Now? I still think it's beautiful. It's my tribute to black men, and I just love that song. It's like one of my favorite songs on the album. The album is out there. I did release it digitally a couple of years ago, and you guys were speaking about Ai earlier. I said, hmm, I can take the music out now and redo put some new music up under their old album. But no, I think the original album is great. A lot of good producers that were starting out then that are doing bigger things now. So yeah, you know, I when I listened back to myself, you know, but way way back, I used to wrap, I think, oh man, that sounds corny. But Alonzo Williams was telling. Me that's the baby theory. You have to embrace it in the context of the times that that was it. I can't expect it to sound like you. Know, and there weren't a lot of I don't think Bay Area female rappers at that time, so you were kind of like at the forefront of that. Yeah, but I never had a deal I did. I shouldn't even say this. There is an EP out there somewhar with me on it, but you actually signed to a label and you know, toured and did the whole, the whole thing. Yeah, I was one of the first female rappers on Innerscope. I was on a boutique label under Interscope just before Death Row got there. Yeah, and that was people. It's you know again, it's hard to put it in a context because it was so different back then than it is now. First of all, we didn't have so many artists at all period like now you have hundreds and hundreds and hundreds of artists. Yeah. And the difference I think back then too, is you had a variety to choose from. You had your fun rap, you had your political rap, you had your dirty rap. But now it all seems like kind of the same. Do you think You don't think we still have all those kinds of raps. They're just not getting played on the radio. That could be. But I I mean, you know better than I do. You, I mean, much better job of keeping out of what's going on. I really don't, to be honest with you, with the new music. I'm still stuck in the in the nineties and eighties at early two thousands. Say that, But you got Anderson Puck and yeah, those guys are great, Yeah, of course. But I mean in terms of the variety, I don't see a lot of it now. Well, I you know, I always hope there is variety. I see it. I don't track as much as I used to at all, either, but I see it when I go out, you know, to clubs or whatever, or when I see when i'm when people send me stuff sometimes online, when it comes to the radio or what's you know, making the big playlists on Spotify. Yeah, there's a lot of uniformity, and it's clear that the labels are in control. Yeah. Well, I kind of feel like the artists now they have more I think leverage when it comes to their music now. Really, all the label is doing now is just kind of giving you that extra push in terms of marketing and uh and promotion. Maybe I should have said streamers, yeah, because they're really the gatekeepers now right. Really, you can get your music out. It's the thing now is marketing. You know, before you need it, the producer you needed, the A and R person, you needed this and that. But now it seems like those things are obsolete and that it's it's all about the marketing now. And a lot of times the labels, I feel, are looking for people who already pretty much have a following. Yeah. I mean we just see that in the in the entertainment business. You know, agents signing actors based on their followers rather than their skills. That's the same thing with the same thing with hip hop, I. Believe that to be true. But I mean with the fact that the streamers can manipulate who has sales and who doesn't. That's the reason I say that I think they are playing a gate care. Yeah, that's a good point. I mean you I think what you're saying is you can still break through if you've got that you know, if your little nas X and you got that following and you know how to get attention in this digital world. Yeah, I think so. So I want to you know, lately, even more than usual. And this is really because when Bone Thugs and Harmony got their star on the Hollywood Walk of Fame, it really made me start to think. And I was having some conversations with some women that I know that were around back then about the way that women's roles are minimized in hip hop. I mean, I you know, Bone Thucks and Harmony is a great group. They would have been a great group no matter what. But you know because you were there that you know, me and Mari Alma were the ones that brought Eric too into the beat because management wasn't trying to talk to him. And then from I remember when he first played bone for me. Yeah, same, and I. Remember when he first brought them to the radio station. I'm sorry, right, and that happened because me and Mari Alma put him in touch with management. Then he got the Ruthless radio show. Then he started playing whatever he wanted. The point is that at that particular function, the people that were there weren't even on the radio back then, and those of us sitting at this table. It's always been kind of that way just through not just in radio, but it's just pretty. Much no, not just radio. I'm not right about radio. Yeah, talking about the entertainment industry, hip hop specifically. You should have been there. I should have been there. The person that was on the mic is a great radio host, but he was working as a security guard at the time that came out. The other person that they're giving credit to wasn't even on the radio. The other station wasn't even on the air. So you know, I'm not a bitter person, but I feel like that is an example of the way that women, particularly Black women, are erased, and I don't want to sit here and let that happen. While I have a microphone. I want to amplify the roles that we played. Yes, I again, I think I also supported a lot of artists. The good thing about me when I was working at the Beat, the programming department really gave me freedom to play what I wanted to play, and that was rare. None of the other DJ's really had that luxury. So I was able to break some records and play what I thought the LA audience would like. So I feel, I mean ericat Easy had that luxury. Yeah, well, no, the mix shows and the DJs the. Had that luxury, and a lot of times they still do, right. Not as much now everybody's got to play by a playlist and it's corporate now, and then the mixed shows, even the mix shows are controlled. Interesting. But anyway, to your point, you did have a lot of freedom, and not just freedom, you had knowledge right of knowing who to give a shot to, of knowing who to call. And that's why I call you a hip hop historian. I don't know if you call yourself that, but I know you keep the receipts, you keep the interviews, you keep all of the video. I don't a lot of that stuff. I don't have it anymore. So I know I have an archive of interviews that I've done over the last on to say, almost forty years now since I started. I was just saying, how wherever you saw me, you saw me with my recorder, my camera or something. So I was able to document a lot of the especially the West Coast hip hop in general, but primarily the West Coast history. So I had the opportunity to interview a lot of the legends before they pass, like Mixed Master Spade and Roger Clayton of Uncle Jam's Army. So and I will say, I am so blessed to have been around during that time. There's no way I would have wanted to be born in the two thousand. The poet is is here. We got a lot to talk about. I got questions she's got to answer. We're talking with the poet is aka Felicia Moore. She's also the owner of Morris Media Studios. She helps people learn how to do podcasts and she produces podcasts. Actually, I think I should. Be mad at you because everybody's got a dog on podcasts, and who knew that everybody wanted our job? I mean even Barack Obama got a dog on podcast. Can y'all go get another job and let us radio people have the mic? Please? Right? Right? But you know. I think it's awesome also a good thing because people can express themselves. A lot of people have stories to tell. I really enjoy being in the podcast producer space. Do you ever get anybody that's just like, no, no, dude, you do not have it Because some people really don't need to have a podcast. I'm sorry, call me a broadcast. No. Yeah, I think those people don't get it. They don't get it. It's like, you really have to know who you're speaking to. You really have to have a reason and a purpose for doing a podcast. Some people do it because it's the end thing to do now, and some people just like to hear themselves talk. But it's really a good tool if you is. It right, Morrismedia Studios dot com. Yeah, so yeah, if. You're not boring, or you are boring and you're really rich and you want to have a podcast, Morris Media Studio. Yeah, we'll get you in the right lane. We'll get you not boring, right, We'll get you to where your passion is and what you want to share with people, because at the end of the day, when someone is listening to your podcast, they're gonna want to know what's in it for me. Am I being entertained? Am I being inspired? Am I being educated about something? So it's really a production just like your show, Just like any radio show. It's a production that you have to spend time and you know, commit to. Funny forensic accounting two five nine says, as much as I love him, Kevin Hunter worked the hell out of the industry on Wendy Williams career, Dominique, who's your Kevin? You belong to the Radio Hall of Fame just as much as she, Yes, you do, thank you. But I've never had a manager, I've never had an advocate, and you know, Easy helped me when we first got here a little bit, just as a friend. But you know, I've been in these radio entertainment streets out here by myself, and I'm very very grateful that I've been able to work continuously and do what I love to do every day on the mic. You know, would I like to have more money, Yes, Would I like to have a national platform, absolutely. And all those things are still possible, Dominique. What you had that others don't as longevity you have you have? You know, your name is known everywhere nowadays. People last five minutes. You don't know even And that goes for the music too. I was listening to Shout Out to DJ Battlecat. He was spending the other night somewhere and just the music he was playing was just so bomb. And I say, you know what, there's no really no music today. I'm not going to say all music, but some after they may last a week or two, would never beyond a year. You know, well, but there is there is hope for R and B music. I'm not going to co sign that because I feel like there are talented m c's. But I understand what you're saying, not not, I mean. We're not making classics. I would say less classics. Name a new artist that you can still remember their song from last year, a year before last. I mean J Cole, Well, he's an except I love by the way, yes, and I'm already I'm like on his older album. I mean, yeah, there's somebody I'm not arguing. I'm not gonna argue rap with the poems because she knows way more. No you do to you, I do, I do. It's an opinion. So but you know, I was asking you how you feel hearing your music. Now I'm glad you still love it. You were definitely one of the first on the West Coast to record and tour and be signed, right. Can you do you think that? Is this just me? Do you think that women get the credit for the roles that we played in the industry back then, whether it's as artists as you know, in front of the mic or behind the mic, because you've worked in both capacities. Yeah, I don't think women get as much credit because we are behind the scenes. Well, a lot of us that are making power moves are behind the scenes. And it just it's just it's just when I was first starting out young and didn't know nothing, I was like, what is sexism? I ain't experience sexism while I'm doing what I do, and I was doing what I do. But as it got older and more knowledgeable, I go, oh, okay, had I been mail, this would have been this way or that way things would have been. Even now, dealing with clients and people that I associate with, it's just the whole different thing when they're dealing with a woman versus a man. And I'm a tough cookie, I don't play. I do things for the most part my way. But I don't think women get the credit that they deserve for all the things. Just imagine pulling women out of let's say just the entertainment business or music business. Would there be a Jackson five? You know, you got to think of Susan d Pasz. You got to think about women that were behind the scenes, that were making stuff happen. Yeah, absolutely, you know. And it's not just credit. Some of it is opportunity. I mean, you're you're braver than I am because you to hang out more, you know, and you know, create more friendships with other with artists and stuff in the industry. And I I always felt, you know, alike at a disadvantage because if you did that, you got to be a tough cookie like you. And I'm you know, I don't know if I am a tough cookie. You are. I can be, Yeah, don't mistake my kindness for weakness, for sure are. But as far as you know you hang out, it's like, well, why are you here? Are you an artist? Are you somebody's girlfriend? Are you a groupie? And whereas if you're a man hanging out there, you're just one of the fellas, And a lot of industry opportunities come out that way, right, You're hanging out there, kicking it, they're smoking a blunt, they're doing this, they're doing that, and they're building and somebody gets a job and somebody gets an opportunity, and a lot of times we're not in those spaces because I'm not trying to be labeled as a groupie or a hoe or somebody's girlfriend or you know, and I'm not an artist, so I don't have that is really down to let me I'm a writer. It's really how you carry yourself to like if you walk in a room and you have like this, you you know, command respect about yourself, that you're carrying yourself and that you're not like chasing these guys or whatever. It's really how you carry yourself. Because I've been in spaces where I was warned before I got there. Like when I worked temporarily for MTV, they sent me out to interview Lil Wayne, but they gave me this warning like, oh, he's this, he's that, be careful whatever, whatever, and so but when I got there, he was like one of the most respectful artists that I've ever interviewed. So it's really how you carry yourself. You know, when you walk into a room. Okay, we can do a whole show on that. Yeah, that's how I feel like. And then you command your respect. It's like they can think what they want to think. But if you're there to do a job, you're there to do a job. Yeah, if you're there to do a job, you're there to do a job. But if you're there hanging out, you might get a job and you were just hanging out, that's my point. Yeah, well, if you're just hanging out, that doesn't got your limits. But what I'm saying is that's part of the glass ceiling, because you're less likely to be hanging out. You know, you might get invited for other reasons, or you might not get invited. I'm not I guess I am complaining, but I'm not bitter. I just see that as a reality of the industry. And as someone who has been as you well know, you know, a survivor of a sexual assault in the context of the industry, perhaps that made me give me a little shell shock about putting you know, whether I command it or not, putting myself in. Well, I'm sorry that happened to you, Domini. I really am sorry. Yeah, but that's it, and I don't like to make it seem like the reason I bring it up is not because oh woe is me. But if you're getting into this business and you think it happens, it's not all good. It's not all good. I love my job. I love the business. But yeah, understand that that you know. Happens, and you gotta be careful and you got to be aware of what people's motives are. Yeah, you know, no doubt, no doubt. Potus is here. I want to talk about some of the titans, some of the movers and shakers in the hip hop industry, especially women, but all of us on the West Coast k BLA Talk fifteen eighty. The Poetus is here. We are talking hip hop, and we're talking about your career and women in hip hop. These are all things that I just I feel like while I'm on the mic, I gotta keep saying this stuff because no one else will, at least not anybody that was there to witness it like you were and I was. So do you think are you on team hip hop has a birthday? Like? Do you celebrate August elect Because I don't. I think hip hop. I think every day is hip hop's birthday. Yeah, I also feel it that's New York's birthday with my last birthday, you know, because really a lot of people don't know when New York was giving these basement and backyard and park parties. So was the West Coast thank you, you know. Thank you because I was at those, you know what I mean with the linoleum and the card yes, and the you know, little drinks and bags. Yes. I just think that I don't know if we can actually pinpoint a day where someone named it. I'm not trying to hate on cool Herk. I just feel like hip hop was like mushroom spontaneously popping out of the ground all over US. I do believe it's the US black phenomenon. I know that there were Latinos and Asians there from day one contributing. I'm not hating on that. I saw it with my own eyes. But I just I don't know this idea that on this day and this one project, well, they. Probably have to do that really for marketing, for you know, capitalism whatever. Miles likes it because it's his birthday, you know, August eleventh, So I. Get that, but I'm mad at that. But like, to me, what is your hip hop origin? Story is the better question. My hip hop origin story began when I moved to LA in nineteen eighty five. I met this female rapper named Lisa Love. She was the backup singer for the LA Dream Team, but they didn't allow her to like really do her skills. I mean, she was Puerto Rican sister from New York, but she rapped like no other. I was just like blown away when I heard her rap. And so I was writing poetry at that time, and so her and I we're gonna get together and write together. And unfortunately she passed away before we had the opportunity to do that, and so I just kept on, you know, writing and you know, rapping. Of course I was horrible back then, but Jeff helped me home my s no ugly. Babies, No ugly babies. I love that. I got that from Alonza Williams. Yeah, yeah, yeah, yeah, because it was what it was. Yeah. So my origins began in mid eighties sort of, you know, where I really started getting interested in the scene. And then by that time, when I moved out here from the Bay Area, you had people like Egyptian Lover, LA dream Team and Uncle Jam's Army and world class record crew, they Toddy T mixed Master Space. They were all doing their thing when I got out here, And when I came here from the Bay Area, I really literally just jumped in the mix because my dad was already on the air out here on KGFJ and I got into the mix earlier. And I just feel like I'm glad I got into hip hop at the time that I got into hip hop. And so my origins begins when I met a sister named Lisa Love, and she inspired me to want to become a rapper. Yes, and she was so dynamic. And then I teamed up with Deaf Jeff and he kind of was my mentor and helping me. Yep, I still talk to Joff. Shout out Deaf Jeff. Shout out to Deaf Jeff. Yeah, Okay, So we were talking. We've been talking about the industry and a little bit how women get I would say, erased in ways that we should not. And you mentioned, you know, Lisa Love and how she helped you and you helped her. But we were also talking off the mic about how sometimes it can be tough the way women are pitted against each other or the way they pit themselves against each other. Or they'll say we already have a female rapper in our group, or that was kind of like how the labels were too back then. They'll sign one female rapper and right, that's it. We have our black women, thank you very much, and we only need one. Yeah. Yeah, So and then we kind of were talking about how, you know, sexism also exists between each other, like there's times where females don't support each other like they should. Yeah, and that's not just in hip hop, but it's true, that's an entertainment business and business. But there are some supporters. I mean, I have some great female mental so I don't want to say, you know, there's not that either. Right. My take on it is that the sisterhood is real. You know, you and I have supported each other over the years, and there's many other women that have open doors for each other. But I think we're groomed to not do that. Right. It's the reality TV of it all. It's the Real Housewives of hip hop. It's the you know the spectacle of women fighting and cat fighting, and so I like to talk about it from that perspective of we don't have to buy into that. Yeah, no, we don't. We do not. I've maybe had a few female haters that I can think of off top, but for the most part, I've had a great sisterhood. I've had some great female mentor shout out to Legie a lot who gave me my first intern gig at RCA Jive Records, and also to Kathy Hughes. A lot of people, you know, have things to say about her, but I have nothing but respect and a good friendship with her. Oh I'm so glad to hear that. Yeah, next topic, Okay, you know I did work with for miss Hughes when I was on Steve Harvey Moore. And that's the thing, is like that she is a radio pioneer. Yes, And I'll say this, she probably had to do and I'm gonna I'm not just saying her she had to fight and do what she had to do to get where she is now. And I'm sure she fought because she started I think maybe in the early eighties she started a company. If I'm not mistaken, it might have been before that. Yeah, but yeah, No, she was in radio because she was at Howard and all. I just think she she had to go through to get where she is now. In a male dominated situation. I agreed, And you know what, I admire her for that. I think that the important thing for me is that we yeah nineteen eighty you're right, Radio one started Urban one now October third, nineteen eighty boom. Yeah. She was an historian. Yeah, and I get that. I just refuse to you know what, I'm not going to say that. I'm going to I'm going to keep it classy. Yeah, well, you keep it classy. The other thing, too, is like you can't let being a woman being an excuse for not succeeding. Like we can say easily that we were hated on or discriminated, but we have to find a way to get passed. No, I don't think it should be an excuse either. But what I'm trying to do is shine light on those who did the work, who are doing the work, because to me, that's the remedy. You know, whether you made it or you didn't make it, that's subjective. The question is if you did the work, are you getting the credit right? And so that's so that's what I'm talking about. I'm not talking about being embittered or going oh I would have been you know, Charlemagne the Goddess. If it wasn't for these sexists, well, if that's not what God had that, if that wasn't my assignment, I do believe my blessings have my name on them. But I do like to shine the light we were talking about. Jacqueline Anderson says, miss my bro general Jeff when it comes to hips. Yes, indeed, and he raised me not only just a hip hop pioneer, he was actually a very outspoken homeless advocate. So I love me some General Jeff. Yeah, rest in peace too soon. So on that note, we were talking. In general Jeff. By the way, for y'all they don't know, was part of rotteno in Joe Cooley. Right right right right right before he turned before he turned into a dedicated homeless activist and sort of stepped away from the hip hop world. Poetus is here when we come forward, I want to shine a light on some women that we think deserve more respect. I mean Kathy Hughes's legendary. People do know her. She has created a radio empire in as you say, a man's world, so we give her respect for that. But I think most people know about miss Hughes a radio one, But there are some folks, and we won't get to all of them, but I want to shine the spotlight on at least a few that should get more love. We're doing that all morning because Poetus is here. Oh yeah, yeah, you're. Listening to Klap fifteen to eighty. Felicia the poetis Morris is here. You can find her at Morrismedia Studios, Morris. Media, morrismediastudios dot com. You can find me at og poetis on Instagram and on Morris Media Studios, also on Instagram. If you are looking to even if you're just thinking about a podcast, hit me up on an email. I do do free discovery calls where we can just hash out your idea. Email me at contact at morrismediastudios dot com. Even if you've just been thinking about it and trying to decide if it's the thing you want to do, let's talk about it. Okay, all right, all right, stop looking at me. Okay. Before we do some shout outs here to women that deserve it, I have to ask you the question that I've been pondering, which comes first, the hip hop or the politics? Does the politics influence the rappers? In other words, the activists on the streets and or those lawmakers, or is it the artists and the hip hop movement and the music that's influencing the politics. I definitely think it's the politics influencing the rappers, because I remember, like back in the late eighties early nineties, we had a lot of political rap. I even considered n WA to be a political group, even though some people think otherwise. But we pretty much reported what was going on in politics, especially like with Public Enemy, they always talked about Bush and things of war and things of that nature. So I think hip hop was sort of a reflection of what was going on politically at that time. Yeah, I mean, in many ways still is whether you like what's going on or not as much. Though I don't hear very many artists talking about Trump to. The good to the bad. I mean, I'm talking about like Nicki Minaj going all up in under his coat tails and people seeking pardons and such. So we might not think of it, you know, necessarily always on the positive side, but it's still embedded in the in the political world. Yeah. And I just was mentioning to you because we were talking about women women's roles, and I want to shout out to all the black women fighting in Washington every day that are just you know, standing tall and strong and just forced to be reckoned. With a shout out to all the black women officials and politicians. Summer Lease, the Maxine Waters is, the Ayanna Presley's Yes we see. You, Jasmine Crockett, AOC, all of them that are just standing up to the man, not the man, the man poet is. Okay, let's let's do some you know, we don't really do shout outs, but let's do some shout out. I mean, one one such I would say is Sheena Lester, who happens to be one of your best friends. Yes, but she's one who's been in hip hop for many years and I think probably doesn't get the shine she should get. No. Sheena was the editor in chief of Rap Pages back in the early mid nineties, and she really was one of the most ethical people that I met and know, because I know at that time people were paying for magazine covers and that kind of sort of thing with other hip hop magics. Right back when, back when the record labels used to have a lot of money, they used to throw it around right people. They used to be having pies. They would send me out to interview people out in different states. I loved it, but Sheena didn't play that. She You had to earn the cover, you had to earn the story. I remember she did a review and she didn't personally. She hired writers to do a review, and someone gave an unfavorable review to Tupac and he called our house. We were roommates by that time, and he called and left a threatening message on our voicemail. I think we still might have that that little mini cassette somewhere with that message on it. But yeah, he called and threatened Sheena because he got an unfavorable review. And of course she's still writing and doing her thing. Yeah, she's editing. She's still one of the top editors in the business. She's worked went on from Rap Pages to work with Hip Hop three sixty when Russell's Women's put that out. She also worked a Vibe and and The Grio and a bunch of other publications. So I would say editing is her passion. But she's also passionate about black brewers, so she's kind of moving into that that lane of supporting black brewers. What a name. A couple other women that you think are underrated and or don't get the shine. They shouldn't dominy. Yay, Okay, thank you girlfriend. Think about that one. I think about a Cassandra Ware that was her name from Ruthless Records. She did a lot of work there building a label, worked with Easy Yes, but she don't. I didn't see her at the Hollywood Walker firm Harborer. I just haven't seen her in a while. Yeah, I'm not sure what she's up to, but she she was a vice president at Ruthless. Yeah. Yeah, I will say this, live your passion, do your passion, and don't worry about getting the credit. I mean, it's what is credit at the end of the day. Is that gonna? I mean, I'm not saying everybody wants their credit and they're just due, but a lot of us get caught up on I can get my props, you don't. No one wants to be a bitter old pioneer. I'm not saying that, right, but we have the mic, so let's show. But yeah, I I'm trying to think, like, really, I know that Sheena was one that was instrumental in writers. You know, Danielle Smith. I guess she gets a lot of love. She could get more. You know, she's from the baby no getting no comment. She hated on my girl, so yeah, t T. But she's an other writer, y so someone who was there in the early days and that she was indeed. Her just do props to so but yeah, m hmm. Okay, Well we only have a minute and a half here, but I since we're not gonna do a shout out list what. I wasn't prepared and sometimes I'm not that great off the top of the head, but I do want to shout out all the women that have encouraged me. Shout out to my mom and and the women that gave me opportunity. And maybe I'm out of like a block now because we were and always have kind of been in a male dominated field. So any like major moves or promotions for me were done by men. Unfortunate. All right, I'm not mad at that, but but you still unprevailed. Okay, So I we only have thirty seconds, so I can't I was going to ask you how you were feeling about this Tupac trial happening now, but we don't really have enough time. You can give me just one sentence for reaction. If I just think it's it's a circus at this point. I mean, I think all of this information was known back when he first passed away, So why are we dragging this out? What is it thirty years? Forty years now? Yeah, so the question is what are we doing? It's thirty I think. Okay, yeah, so what are we doing? Yeah? Yeah, okay, good, Remember to hit me up at og poet Is and Morris Media Studios if you're thinking about doing a podcast. That's what we do all day, every day. Yeah. Well, I mean, actually we did pretty good. We still got another minute if you want to say something else. No, but that was kind of my reaction. And Miles Stt was talking about why now, you know, just in turn time for you know, the thirtieth anniversary and all this marketing type stuff, and my thing was I felt kind of so I'm hoping that I'm just not jaded, but I think hearing you say that, maybe that's it's like, yeah, if you have been doing for the past. Three decades, well known knowledge over the decades, it's like this is not new, you know. And so and again I feel bad because I didn't run down my list, but well, there's a lot of women have to come back, a lot of women out there. You got work, you got instruments. So thank you for your work and all the crap you had to put up with. All right, but. Here we are still standing, still thriving, still working in the business. God bless yes, God bless America. And thank you always being support of Love you, sis I, love you more. All right, News, traffic and sports, and then we're going to talk about a mystery that was not thirty years in the making, the strange and curious case of Black Maga. That's next on KBLA Talk fifteen eighty