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

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<v Speaker 1>the mic. I know, you know, but not only on

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<v Speaker 1>the mic. She's in the studio. She started on radio

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<v Speaker 1>at age five on KDAAM that was the sole station

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<v Speaker 1>back in the Bay and her dad was a DJ there,

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<v Speaker 1>popular DJ Johnny Morris. He's a well known engineer. She

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<v Speaker 1>followed in his footsteps, went to La got on the

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<v Speaker 1>air at Bailey broadcasting hip Hop Countdown Report, but also

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<v Speaker 1>obviously one of the early early West Coast MC's. I mean,

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<v Speaker 1>the bio is long, so we're gonna do it live

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<v Speaker 1>on the mic. Poet is good Morning.

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<v Speaker 2>She's also the more Studios and also an old co

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<v Speaker 2>worker of Dominiques. Yes, indeed the old radio station we

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<v Speaker 2>were at together and a lot of people thought we

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<v Speaker 2>were the same person.

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<v Speaker 1>Yeah they did. They used to mix us up. It

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<v Speaker 1>still happens, actually happened to me.

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<v Speaker 2>I always get the Tupot credit and always oh man,

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<v Speaker 2>you were on Tupot. Nah, that was my girl Dominie.

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

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<v Speaker 1>They always just they think I'm you. I had a

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<v Speaker 1>guy introduce me as you on the mic about six

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<v Speaker 1>months ago had a poetry slam. It's wild, right, and

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<v Speaker 1>it's like and with us tonight, ladies and gentlemen, the

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<v Speaker 1>poet is And I'm like, I love the poet.

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<v Speaker 2>Is, but I'm not the poet.

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<v Speaker 1>Okay, I'm not even a poetist.

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<v Speaker 2>But you are.

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<v Speaker 1>And you started you started doing poetry when you were

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<v Speaker 1>a little kid. Yeah.

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<v Speaker 2>I wrote poetry at a very well, I guess about

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<v Speaker 2>eight or nine I started.

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<v Speaker 1>And then you kept it going onto and you know,

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<v Speaker 1>an actual record deal.

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<v Speaker 2>Yeah, I turned it into turned my poetry into lyrics,

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<v Speaker 2>got with Def Jeff, and the rest is kind of

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<v Speaker 2>history as far as my rap career. But I soon

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<v Speaker 2>got into radio again after that.

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<v Speaker 1>So yeah, but I mean you made I think the

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<v Speaker 1>first time we met was me interviewing you for my

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<v Speaker 1>television in the Bay Area. Yes, as you know, when

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<v Speaker 1>you were on your wrap front. Yeah, how do you

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<v Speaker 1>feel when you hear that song? Now?

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

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<v Speaker 2>and I just love that song. It's like one of

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<v Speaker 2>my favorite songs on the album. The album is out there.

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<v Speaker 2>I did release it digitally a couple of years ago,

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<v Speaker 2>and you guys were speaking about Ai earlier. I said, hmm,

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<v Speaker 2>I can take the music out now and redo put

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<v Speaker 2>some new music up under their old album. But no,

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<v Speaker 2>I think the original album is great. A lot of

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<v Speaker 2>good producers that were starting out then that are doing

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<v Speaker 2>bigger things now.

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<v Speaker 1>So yeah, you know, I when I listened back to myself,

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<v Speaker 1>you know, but way way back, I used to wrap,

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<v Speaker 1>I think, oh man, that sounds corny. But Alonzo Williams

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<v Speaker 1>was telling.

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<v Speaker 2>Me that's the baby theory.

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<v Speaker 1>You have to embrace it in the context of the

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<v Speaker 1>times that that was it. I can't expect it to

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<v Speaker 1>sound like you.

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<v Speaker 2>Know, and there weren't a lot of I don't think

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<v Speaker 2>Bay Area female rappers at that time, so you were

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<v Speaker 2>kind of like at the forefront of that.

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<v Speaker 1>Yeah, but I never had a deal I did. I

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<v Speaker 1>shouldn't even say this. There is an EP out there

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<v Speaker 1>somewhar with me on it, but you actually signed to

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<v Speaker 1>a label and you know, toured and did the whole,

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<v Speaker 1>the whole thing.

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<v Speaker 2>Yeah, I was one of the first female rappers on Innerscope.

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<v Speaker 2>I was on a boutique label under Interscope just before

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<v Speaker 2>Death Row got there.

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

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<v Speaker 1>hard to put it in a context because it was

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<v Speaker 1>so different back then than it is now. First of all,

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<v Speaker 1>we didn't have so many artists at all period like

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<v Speaker 1>now you have hundreds and hundreds and hundreds of artists.

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<v Speaker 2>Yeah. And the difference I think back then too, is

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<v Speaker 2>you had a variety to choose from. You had your

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<v Speaker 2>fun rap, you had your political rap, you had your

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<v Speaker 2>dirty rap. But now it all seems like kind of

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<v Speaker 2>the same.

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<v Speaker 1>Do you think You don't think we still have all

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<v Speaker 1>those kinds of raps. They're just not getting played on

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<v Speaker 1>the radio.

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<v Speaker 2>That could be.

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<v Speaker 1>But I I mean, you know better than I do. You,

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<v Speaker 1>I mean, much better job of keeping out of what's

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<v Speaker 1>going on.

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<v Speaker 2>I really don't, to be honest with you, with the

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<v Speaker 2>new music. I'm still stuck in the in the nineties

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<v Speaker 2>and eighties at early two thousands.

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<v Speaker 1>Say that, But you got Anderson Puck and yeah, those

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<v Speaker 1>guys are great, Yeah, of course.

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<v Speaker 2>But I mean in terms of the variety, I don't

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<v Speaker 2>see a lot of it now.

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<v Speaker 1>Well, I you know, I always hope there is variety.

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<v Speaker 1>I see it. I don't track as much as I

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<v Speaker 1>used to at all, either, but I see it when

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<v Speaker 1>I go out, you know, to clubs or whatever, or

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<v Speaker 1>when I see when i'm when people send me stuff

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<v Speaker 1>sometimes online, when it comes to the radio or what's

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<v Speaker 1>you know, making the big playlists on Spotify. Yeah, there's

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<v Speaker 1>a lot of uniformity, and it's clear that the labels

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<v Speaker 1>are in control. Yeah.

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<v Speaker 2>Well, I kind of feel like the artists now they

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<v Speaker 2>have more I think leverage when it comes to their

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<v Speaker 2>music now. Really, all the label is doing now is

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<v Speaker 2>just kind of giving you that extra push in terms

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<v Speaker 2>of marketing and uh and promotion.

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<v Speaker 1>Maybe I should have said streamers, yeah, because they're really

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<v Speaker 1>the gatekeepers now right.

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

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<v Speaker 2>now is marketing. You know, before you need it, the

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<v Speaker 2>producer you needed, the A and R person, you needed

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<v Speaker 2>this and that. But now it seems like those things

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<v Speaker 2>are obsolete and that it's it's all about the marketing now.

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<v Speaker 2>And a lot of times the labels, I feel, are

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<v Speaker 2>looking for people who already pretty much have a following.

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<v Speaker 1>Yeah. I mean we just see that in the in

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<v Speaker 1>the entertainment business. You know, agents signing actors based on

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<v Speaker 1>their followers rather than their skills.

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<v Speaker 2>That's the same thing with the same thing with hip hop, I.

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<v Speaker 1>Believe that to be true. But I mean with the

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<v Speaker 1>fact that the streamers can manipulate who has sales and

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<v Speaker 1>who doesn't. That's the reason I say that I think

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<v Speaker 1>they are playing a gate care.

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<v Speaker 2>Yeah, that's a good point.

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<v Speaker 1>I mean you I think what you're saying is you

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<v Speaker 1>can still break through if you've got that you know,

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<v Speaker 1>if your little nas X and you got that following

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<v Speaker 1>and you know how to get attention in this digital world.

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<v Speaker 2>Yeah, I think so.

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<v Speaker 1>So I want to you know, lately, even more than usual.

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<v Speaker 1>And this is really because when Bone Thugs and Harmony

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<v Speaker 1>got their star on the Hollywood Walk of Fame, it

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<v Speaker 1>really made me start to think. And I was having

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<v Speaker 1>some conversations with some women that I know that were

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<v Speaker 1>around back then about the way that women's roles are

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<v Speaker 1>minimized in hip hop. I mean, I you know, Bone

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<v Speaker 1>Thucks and Harmony is a great group. They would have

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<v Speaker 1>been a great group no matter what. But you know

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<v Speaker 1>because you were there that you know, me and Mari

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<v Speaker 1>Alma were the ones that brought Eric too into the

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<v Speaker 1>beat because management wasn't trying to talk to him.

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<v Speaker 2>And then from I remember when he first played bone

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<v Speaker 2>for me.

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<v Speaker 1>Yeah, same, and I.

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<v Speaker 2>Remember when he first brought them to the radio station.

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<v Speaker 1>I'm sorry, right, and that happened because me and Mari

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<v Speaker 1>Alma put him in touch with management. Then he got

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<v Speaker 1>the Ruthless radio show. Then he started playing whatever he wanted.

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<v Speaker 1>The point is that at that particular function, the people

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<v Speaker 1>that were there weren't even on the radio back then,

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<v Speaker 1>and those of us sitting at this table.

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<v Speaker 2>It's always been kind of that way just through not

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<v Speaker 2>just in radio, but it's just pretty.

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<v Speaker 1>Much no, not just radio. I'm not right about radio. Yeah,

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<v Speaker 1>talking about the entertainment industry, hip hop specifically. You should

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<v Speaker 1>have been there. I should have been there. The person

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<v Speaker 1>that was on the mic is a great radio host,

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<v Speaker 1>but he was working as a security guard at the

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<v Speaker 1>time that came out. The other person that they're giving

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<v Speaker 1>credit to wasn't even on the radio. The other station

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<v Speaker 1>wasn't even on the air. So you know, I'm not

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<v Speaker 1>a bitter person, but I feel like that is an

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<v Speaker 1>example of the way that women, particularly Black women, are erased,

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<v Speaker 1>and I don't want to sit here and let that happen.

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<v Speaker 1>While I have a microphone. I want to amplify the

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<v Speaker 1>roles that we played.

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<v Speaker 2>Yes, I again, I think I also supported a lot

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<v Speaker 2>of artists. The good thing about me when I was

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<v Speaker 2>working at the Beat, the programming department really gave me

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<v Speaker 2>freedom to play what I wanted to play, and that

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<v Speaker 2>was rare. None of the other DJ's really had that luxury.

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<v Speaker 2>So I was able to break some records and play

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<v Speaker 2>what I thought the LA audience would like.

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<v Speaker 1>So I feel, I mean ericat Easy had that luxury.

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<v Speaker 2>Yeah, well, no, the mix shows and the DJs the.

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

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<v Speaker 2>Not as much now everybody's got to play by a

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<v Speaker 2>playlist and it's corporate now, and then the mixed shows,

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<v Speaker 2>even the mix shows are controlled. Interesting.

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<v Speaker 1>But anyway, to your point, you did have a lot

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<v Speaker 1>of freedom, and not just freedom, you had knowledge right

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<v Speaker 1>of knowing who to give a shot to, of knowing

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<v Speaker 1>who to call. And that's why I call you a

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<v Speaker 1>hip hop historian. I don't know if you call yourself that,

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<v Speaker 1>but I know you keep the receipts, you keep the interviews,

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<v Speaker 1>you keep all of the video. I don't a lot

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<v Speaker 1>of that stuff. I don't have it anymore.

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<v Speaker 2>So I know I have an archive of interviews that

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<v Speaker 2>I've done over the last on to say, almost forty

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<v Speaker 2>years now since I started. I was just saying, how

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<v Speaker 2>wherever you saw me, you saw me with my recorder,

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<v Speaker 2>my camera or something. So I was able to document

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<v Speaker 2>a lot of the especially the West Coast hip hop

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<v Speaker 2>in general, but primarily the West Coast history. So I

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<v Speaker 2>had the opportunity to interview a lot of the legends

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<v Speaker 2>before they pass, like Mixed Master Spade and Roger Clayton

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<v Speaker 2>of Uncle Jam's Army. So and I will say, I

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<v Speaker 2>am so blessed to have been around during that time.

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<v Speaker 2>There's no way I would have wanted to be born

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<v Speaker 2>in the two thousand. The poet is is here.

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<v Speaker 1>We got a lot to talk about. I got questions

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<v Speaker 1>she's got to answer. We're talking with the poet is

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<v Speaker 1>aka Felicia Moore. She's also the owner of Morris Media Studios.

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<v Speaker 1>She helps people learn how to do podcasts and she

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<v Speaker 1>produces podcasts.

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<v Speaker 2>Actually, I think I should.

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

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<v Speaker 1>and who knew that everybody wanted our job? I mean

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<v Speaker 1>even Barack Obama got a dog on podcast. Can y'all

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<v Speaker 1>go get another job and let us radio people have

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<v Speaker 1>the mic?

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<v Speaker 2>Please? Right? Right?

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<v Speaker 1>But you know.

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<v Speaker 2>I think it's awesome also a good thing because people

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<v Speaker 2>can express themselves. A lot of people have stories to tell.

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<v Speaker 2>I really enjoy being in the podcast producer space.

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<v Speaker 1>Do you ever get anybody that's just like, no, no, dude,

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<v Speaker 1>you do not have it Because some people really don't

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<v Speaker 1>need to have a podcast. I'm sorry, call me a broadcast.

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

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<v Speaker 2>don't get it. It's like, you really have to know

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<v Speaker 2>who you're speaking to. You really have to have a

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<v Speaker 2>reason and a purpose for doing a podcast. Some people

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<v Speaker 2>do it because it's the end thing to do now,

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<v Speaker 2>and some people just like to hear themselves talk. But

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<v Speaker 2>it's really a good tool if you is.

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<v Speaker 1>It right, Morrismedia Studios dot com.

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<v Speaker 2>Yeah, so yeah, if.

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<v Speaker 1>You're not boring, or you are boring and you're really

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<v Speaker 1>rich and you want to have a podcast, Morris Media Studio.

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<v Speaker 2>Yeah, we'll get you in the right lane. We'll get

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<v Speaker 2>you not boring, right, We'll get you to where your

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<v Speaker 2>passion is and what you want to share with people,

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<v Speaker 2>because at the end of the day, when someone is

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<v Speaker 2>listening to your podcast, they're gonna want to know what's

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<v Speaker 2>in it for me. Am I being entertained? Am I

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<v Speaker 2>being inspired? Am I being educated about something? So it's

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<v Speaker 2>really a production just like your show, Just like any

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<v Speaker 2>radio show. It's a production that you have to spend

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<v Speaker 2>time and you know, commit to.

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<v Speaker 1>Funny forensic accounting two five nine says, as much as

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<v Speaker 1>I love him, Kevin Hunter worked the hell out of

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<v Speaker 1>the industry on Wendy Williams career, Dominique, who's your Kevin?

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<v Speaker 1>You belong to the Radio Hall of Fame just as

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<v Speaker 1>much as she, Yes, you do, thank you. But I've

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<v Speaker 1>never had a manager, I've never had an advocate, and

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<v Speaker 1>you know, Easy helped me when we first got here

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<v Speaker 1>a little bit, just as a friend. But you know,

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<v Speaker 1>I've been in these radio entertainment streets out here by myself,

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<v Speaker 1>and I'm very very grateful that I've been able to

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<v Speaker 1>work continuously and do what I love to do every

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<v Speaker 1>day on the mic. You know, would I like to

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<v Speaker 1>have more money, Yes, Would I like to have a

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<v Speaker 1>national platform, absolutely.

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<v Speaker 2>And all those things are still possible, Dominique. What you

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<v Speaker 2>had that others don't as longevity you have you have?

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<v Speaker 2>You know, your name is known everywhere nowadays. People last

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<v Speaker 2>five minutes. You don't know even And that goes for

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<v Speaker 2>the music too. I was listening to Shout Out to

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<v Speaker 2>DJ Battlecat. He was spending the other night somewhere and

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<v Speaker 2>just the music he was playing was just so bomb.

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<v Speaker 2>And I say, you know what, there's no really no

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<v Speaker 2>music today. I'm not going to say all music, but

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<v Speaker 2>some after they may last a week or two, would

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<v Speaker 2>never beyond a year. You know, well, but there is

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<v Speaker 2>there is hope for R and B music.

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<v Speaker 1>I'm not going to co sign that because I feel

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<v Speaker 1>like there are talented m c's. But I understand what

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<v Speaker 1>you're saying, not not, I mean.

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<v Speaker 2>We're not making classics. I would say less classics. Name

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<v Speaker 2>a new artist that you can still remember their song

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<v Speaker 2>from last year, a year before last. I mean J Cole, Well,

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<v Speaker 2>he's an except I love by the way, yes, and

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<v Speaker 2>I'm already I'm like on his older album.

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<v Speaker 1>I mean, yeah, there's somebody I'm not arguing. I'm not

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<v Speaker 1>gonna argue rap with the poems because she knows way more.

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<v Speaker 1>No you do to you, I do, I do.

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<v Speaker 2>It's an opinion.

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<v Speaker 1>So but you know, I was asking you how you

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<v Speaker 1>feel hearing your music. Now I'm glad you still love it.

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<v Speaker 1>You were definitely one of the first on the West

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<v Speaker 1>Coast to record and tour and be signed, right.

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<v Speaker 2>Can you do you think that? Is this just me?

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<v Speaker 1>Do you think that women get the credit for the

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<v Speaker 1>roles that we played in the industry back then, whether

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<v Speaker 1>it's as artists as you know, in front of the

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<v Speaker 1>mic or behind the mic, because you've worked in both capacities.

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<v Speaker 2>Yeah, I don't think women get as much credit because

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<v Speaker 2>we are behind the scenes. Well, a lot of us

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<v Speaker 2>that are making power moves are behind the scenes. And

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<v Speaker 2>it just it's just it's just when I was first

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<v Speaker 2>starting out young and didn't know nothing, I was like,

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<v Speaker 2>what is sexism? I ain't experience sexism while I'm doing

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<v Speaker 2>what I do, and I was doing what I do.

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<v Speaker 2>But as it got older and more knowledgeable, I go, oh, okay,

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<v Speaker 2>had I been mail, this would have been this way

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<v Speaker 2>or that way things would have been. Even now, dealing

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<v Speaker 2>with clients and people that I associate with, it's just

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<v Speaker 2>the whole different thing when they're dealing with a woman

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<v Speaker 2>versus a man. And I'm a tough cookie, I don't play.

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<v Speaker 2>I do things for the most part my way. But

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<v Speaker 2>I don't think women get the credit that they deserve

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<v Speaker 2>for all the things. Just imagine pulling women out of

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<v Speaker 2>let's say just the entertainment business or music business. Would

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<v Speaker 2>there be a Jackson five? You know, you got to

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<v Speaker 2>think of Susan d Pasz. You got to think about

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<v Speaker 2>women that were behind the scenes, that were making stuff happen.

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

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<v Speaker 1>of it is opportunity. I mean, you're you're braver than

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<v Speaker 1>I am because you to hang out more, you know,

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<v Speaker 1>and you know, create more friendships with other with artists

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<v Speaker 1>and stuff in the industry. And I I always felt,

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<v Speaker 1>you know, alike at a disadvantage because if you did that,

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<v Speaker 1>you got to be a tough cookie like you. And

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<v Speaker 1>I'm you know, I don't know if I am a

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<v Speaker 1>tough cookie.

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<v Speaker 2>You are.

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<v Speaker 1>I can be, Yeah, don't mistake my kindness for weakness,

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00:17:21.839 --> 00:17:24.640
<v Speaker 1>for sure are. But as far as you know you

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<v Speaker 1>hang out, it's like, well, why are you here? Are

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<v Speaker 1>you an artist? Are you somebody's girlfriend? Are you a groupie?

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<v Speaker 1>And whereas if you're a man hanging out there, you're

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<v Speaker 1>just one of the fellas, And a lot of industry

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<v Speaker 1>opportunities come out that way, right, You're hanging out there,

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00:17:40.119 --> 00:17:42.119
<v Speaker 1>kicking it, they're smoking a blunt, they're doing this, they're

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<v Speaker 1>doing that, and they're building and somebody gets a job

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<v Speaker 1>and somebody gets an opportunity, and a lot of times

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<v Speaker 1>we're not in those spaces because I'm not trying to

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<v Speaker 1>be labeled as a groupie or a hoe or somebody's

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<v Speaker 1>girlfriend or you know, and I'm not an artist, so

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<v Speaker 1>I don't have that is really down to let me

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<v Speaker 1>I'm a writer.

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<v Speaker 2>It's really how you carry yourself to like if you

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<v Speaker 2>walk in a room and you have like this, you

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00:18:14.440 --> 00:18:18.240
<v Speaker 2>you know, command respect about yourself, that you're carrying yourself

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<v Speaker 2>and that you're not like chasing these guys or whatever.

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00:18:21.279 --> 00:18:24.839
<v Speaker 2>It's really how you carry yourself. Because I've been in

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00:18:24.920 --> 00:18:28.519
<v Speaker 2>spaces where I was warned before I got there. Like

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<v Speaker 2>when I worked temporarily for MTV, they sent me out

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<v Speaker 2>to interview Lil Wayne, but they gave me this warning like, oh,

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00:18:38.759 --> 00:18:43.359
<v Speaker 2>he's this, he's that, be careful whatever, whatever, and so

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<v Speaker 2>but when I got there, he was like one of

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00:18:45.880 --> 00:18:50.839
<v Speaker 2>the most respectful artists that I've ever interviewed. So it's

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<v Speaker 2>really how you carry yourself. You know, when you walk

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<v Speaker 2>into a room.

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<v Speaker 1>Okay, we can do a whole show on that.

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

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<v Speaker 2>your respect. It's like they can think what they want

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<v Speaker 2>to think. But if you're there to do a job,

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<v Speaker 2>you're there to do a job.

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<v Speaker 1>Yeah, if you're there to do a job, you're there

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<v Speaker 1>to do a job. But if you're there hanging out,

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<v Speaker 1>you might get a job and you were just hanging out,

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<v Speaker 1>that's my point.

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

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<v Speaker 2>your limits.

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

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<v Speaker 1>because you're less likely to be hanging out. You know,

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<v Speaker 1>you might get invited for other reasons, or you might

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<v Speaker 1>not get invited. I'm not I guess I am complaining,

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<v Speaker 1>but I'm not bitter. I just see that as a

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<v Speaker 1>reality of the industry. And as someone who has been

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<v Speaker 1>as you well know, you know, a survivor of a

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<v Speaker 1>sexual assault in the context of the industry, perhaps that

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<v Speaker 1>made me give me a little shell shock about putting

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<v Speaker 1>you know, whether I command it or not, putting myself in.

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<v Speaker 2>Well, I'm sorry that happened to you, Domini. I really

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<v Speaker 2>am sorry.

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

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<v Speaker 1>it seem like the reason I bring it up is

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<v Speaker 1>not because oh woe is me. But if you're getting

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<v Speaker 1>into this business and you think it happens, it's not

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<v Speaker 1>all good. It's not all good.

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<v Speaker 2>I love my job. I love the business.

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<v Speaker 1>But yeah, understand that that you know.

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<v Speaker 2>Happens, and you gotta be careful and you got to

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<v Speaker 2>be aware of what people's motives are. Yeah, you know,

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<v Speaker 2>no doubt, no doubt.

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<v Speaker 1>Potus is here. I want to talk about some of

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<v Speaker 1>the titans, some of the movers and shakers in the

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<v Speaker 1>hip hop industry, especially women, but all of us on

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<v Speaker 1>the West Coast k BLA Talk fifteen eighty. The Poetus

387
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<v Speaker 1>is here. We are talking hip hop, and we're talking

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<v Speaker 1>about your career and women in hip hop. These are

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<v Speaker 1>all things that I just I feel like while I'm

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<v Speaker 1>on the mic, I gotta keep saying this stuff because

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<v Speaker 1>no one else will, at least not anybody that was

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<v Speaker 1>there to witness it like you were and I was.

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<v Speaker 1>So do you think are you on team hip hop

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<v Speaker 1>has a birthday? Like? Do you celebrate August elect Because

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<v Speaker 1>I don't. I think hip hop. I think every day

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<v Speaker 1>is hip hop's birthday.

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<v Speaker 2>Yeah, I also feel it that's New York's birthday with

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00:21:17.400 --> 00:21:22.359
<v Speaker 2>my last birthday, you know, because really a lot of

399
00:21:22.400 --> 00:21:27.680
<v Speaker 2>people don't know when New York was giving these basement

400
00:21:27.839 --> 00:21:31.279
<v Speaker 2>and backyard and park parties. So was the West Coast

401
00:21:31.640 --> 00:21:33.039
<v Speaker 2>thank you, you know.

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<v Speaker 1>Thank you because I was at those, you know what

403
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<v Speaker 1>I mean with the linoleum and the card yes, and

404
00:21:39.599 --> 00:21:41.640
<v Speaker 1>the you know, little drinks and bags.

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<v Speaker 2>Yes. I just think that I don't know if we

406
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<v Speaker 2>can actually pinpoint a day where someone named it.

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<v Speaker 1>I'm not trying to hate on cool Herk. I just

408
00:21:56.119 --> 00:21:59.279
<v Speaker 1>feel like hip hop was like mushroom spontaneously popping out

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<v Speaker 1>of the ground all over US. I do believe it's

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<v Speaker 1>the US black phenomenon. I know that there were Latinos

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<v Speaker 1>and Asians there from day one contributing. I'm not hating

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<v Speaker 1>on that. I saw it with my own eyes. But

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<v Speaker 1>I just I don't know this idea that on this

414
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<v Speaker 1>day and this one project, well, they.

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<v Speaker 2>Probably have to do that really for marketing, for you know,

416
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<v Speaker 2>capitalism whatever.

417
00:22:24.079 --> 00:22:26.839
<v Speaker 1>Miles likes it because it's his birthday, you know, August eleventh,

418
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<v Speaker 1>So I.

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<v Speaker 2>Get that, but I'm mad at that.

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<v Speaker 1>But like, to me, what is your hip hop origin?

421
00:22:31.640 --> 00:22:33.160
<v Speaker 1>Story is the better question.

422
00:22:34.079 --> 00:22:39.160
<v Speaker 2>My hip hop origin story began when I moved to

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<v Speaker 2>LA in nineteen eighty five. I met this female rapper

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<v Speaker 2>named Lisa Love. She was the backup singer for the

425
00:22:51.480 --> 00:22:56.440
<v Speaker 2>LA Dream Team, but they didn't allow her to like

426
00:22:57.000 --> 00:23:00.759
<v Speaker 2>really do her skills. I mean, she was Puerto Rican

427
00:23:01.039 --> 00:23:05.440
<v Speaker 2>sister from New York, but she rapped like no other.

428
00:23:05.759 --> 00:23:08.839
<v Speaker 2>I was just like blown away when I heard her rap.

429
00:23:08.880 --> 00:23:11.880
<v Speaker 2>And so I was writing poetry at that time, and

430
00:23:11.960 --> 00:23:17.000
<v Speaker 2>so her and I we're gonna get together and write together.

431
00:23:17.319 --> 00:23:21.559
<v Speaker 2>And unfortunately she passed away before we had the opportunity

432
00:23:22.200 --> 00:23:26.079
<v Speaker 2>to do that, and so I just kept on, you know,

433
00:23:26.279 --> 00:23:30.559
<v Speaker 2>writing and you know, rapping. Of course I was horrible

434
00:23:30.680 --> 00:23:36.359
<v Speaker 2>back then, but Jeff helped me home my s no ugly.

435
00:23:36.200 --> 00:23:38.880
<v Speaker 1>Babies, No ugly babies. I love that. I got that

436
00:23:38.880 --> 00:23:41.440
<v Speaker 1>from Alonza Williams. Yeah, yeah, yeah, yeah, because it was

437
00:23:41.480 --> 00:23:41.880
<v Speaker 1>what it was.

438
00:23:42.079 --> 00:23:47.640
<v Speaker 2>Yeah. So my origins began in mid eighties sort of,

439
00:23:47.920 --> 00:23:51.359
<v Speaker 2>you know, where I really started getting interested in the scene.

440
00:23:51.400 --> 00:23:53.799
<v Speaker 2>And then by that time, when I moved out here

441
00:23:53.839 --> 00:23:57.039
<v Speaker 2>from the Bay Area, you had people like Egyptian Lover,

442
00:23:58.039 --> 00:24:02.519
<v Speaker 2>LA dream Team and Uncle Jam's Army and world class

443
00:24:02.519 --> 00:24:07.359
<v Speaker 2>record crew, they Toddy T mixed Master Space. They were

444
00:24:07.559 --> 00:24:10.599
<v Speaker 2>all doing their thing when I got out here, And

445
00:24:10.680 --> 00:24:13.799
<v Speaker 2>when I came here from the Bay Area, I really

446
00:24:13.920 --> 00:24:17.000
<v Speaker 2>literally just jumped in the mix because my dad was

447
00:24:17.039 --> 00:24:23.119
<v Speaker 2>already on the air out here on KGFJ and I

448
00:24:23.160 --> 00:24:25.599
<v Speaker 2>got into the mix earlier. And I just feel like

449
00:24:25.720 --> 00:24:28.119
<v Speaker 2>I'm glad I got into hip hop at the time

450
00:24:28.200 --> 00:24:31.079
<v Speaker 2>that I got into hip hop. And so my origins

451
00:24:31.160 --> 00:24:35.920
<v Speaker 2>begins when I met a sister named Lisa Love, and

452
00:24:36.000 --> 00:24:41.319
<v Speaker 2>she inspired me to want to become a rapper. Yes,

453
00:24:41.599 --> 00:24:44.440
<v Speaker 2>and she was so dynamic. And then I teamed up

454
00:24:44.440 --> 00:24:48.279
<v Speaker 2>with Deaf Jeff and he kind of was my mentor

455
00:24:48.400 --> 00:24:52.039
<v Speaker 2>and helping me. Yep, I still talk to Joff. Shout

456
00:24:52.039 --> 00:24:54.200
<v Speaker 2>out Deaf Jeff. Shout out to Deaf Jeff.

457
00:24:54.599 --> 00:24:57.640
<v Speaker 1>Yeah, Okay, So we were talking. We've been talking about

458
00:24:57.680 --> 00:25:00.440
<v Speaker 1>the industry and a little bit how women get I

459
00:25:00.480 --> 00:25:03.720
<v Speaker 1>would say, erased in ways that we should not. And

460
00:25:03.839 --> 00:25:06.480
<v Speaker 1>you mentioned, you know, Lisa Love and how she helped

461
00:25:06.519 --> 00:25:09.279
<v Speaker 1>you and you helped her. But we were also talking

462
00:25:09.279 --> 00:25:11.599
<v Speaker 1>off the mic about how sometimes it can be tough

463
00:25:12.759 --> 00:25:15.079
<v Speaker 1>the way women are pitted against each other or the

464
00:25:15.119 --> 00:25:18.000
<v Speaker 1>way they pit themselves against each other.

465
00:25:18.440 --> 00:25:21.319
<v Speaker 2>Or they'll say we already have a female rapper in

466
00:25:21.359 --> 00:25:24.599
<v Speaker 2>our group, or that was kind of like how the

467
00:25:24.680 --> 00:25:28.519
<v Speaker 2>labels were too back then. They'll sign one female rapper

468
00:25:29.279 --> 00:25:30.400
<v Speaker 2>and right, that's it.

469
00:25:30.480 --> 00:25:33.000
<v Speaker 1>We have our black women, thank you very much, and

470
00:25:33.119 --> 00:25:34.039
<v Speaker 1>we only need one.

471
00:25:34.400 --> 00:25:36.799
<v Speaker 2>Yeah. Yeah, So and then we kind of were talking

472
00:25:36.839 --> 00:25:43.440
<v Speaker 2>about how, you know, sexism also exists between each other,

473
00:25:43.680 --> 00:25:48.799
<v Speaker 2>like there's times where females don't support each other like

474
00:25:48.839 --> 00:25:49.359
<v Speaker 2>they should.

475
00:25:50.079 --> 00:25:51.920
<v Speaker 1>Yeah, and that's not just in hip hop, but it's true,

476
00:25:51.960 --> 00:25:54.039
<v Speaker 1>that's an entertainment business and business.

477
00:25:55.839 --> 00:25:58.400
<v Speaker 2>But there are some supporters. I mean, I have some

478
00:25:58.480 --> 00:26:03.559
<v Speaker 2>great female mental so I don't want to say, you know,

479
00:26:03.599 --> 00:26:05.240
<v Speaker 2>there's not that either. Right.

480
00:26:05.920 --> 00:26:08.160
<v Speaker 1>My take on it is that the sisterhood is real.

481
00:26:08.880 --> 00:26:10.720
<v Speaker 1>You know, you and I have supported each other over

482
00:26:10.759 --> 00:26:15.000
<v Speaker 1>the years, and there's many other women that have open

483
00:26:15.079 --> 00:26:19.359
<v Speaker 1>doors for each other. But I think we're groomed to

484
00:26:19.480 --> 00:26:23.000
<v Speaker 1>not do that. Right. It's the reality TV of it all.

485
00:26:23.039 --> 00:26:26.160
<v Speaker 1>It's the Real Housewives of hip hop. It's the you

486
00:26:26.200 --> 00:26:30.599
<v Speaker 1>know the spectacle of women fighting and cat fighting, and

487
00:26:30.680 --> 00:26:34.039
<v Speaker 1>so I like to talk about it from that perspective

488
00:26:34.039 --> 00:26:35.759
<v Speaker 1>of we don't have to buy into that.

489
00:26:36.640 --> 00:26:43.160
<v Speaker 2>Yeah, no, we don't. We do not. I've maybe had

490
00:26:43.559 --> 00:26:48.039
<v Speaker 2>a few female haters that I can think of off top,

491
00:26:49.000 --> 00:26:53.880
<v Speaker 2>but for the most part, I've had a great sisterhood.

492
00:26:53.920 --> 00:26:57.240
<v Speaker 2>I've had some great female mentor shout out to Legie

493
00:26:57.400 --> 00:27:01.519
<v Speaker 2>a lot who gave me my first intern gig at

494
00:27:01.640 --> 00:27:09.200
<v Speaker 2>RCA Jive Records, and also to Kathy Hughes. A lot

495
00:27:09.200 --> 00:27:11.759
<v Speaker 2>of people, you know, have things to say about her,

496
00:27:11.880 --> 00:27:16.480
<v Speaker 2>but I have nothing but respect and a good friendship

497
00:27:16.519 --> 00:27:19.200
<v Speaker 2>with her. Oh I'm so glad to hear that.

498
00:27:20.079 --> 00:27:27.079
<v Speaker 1>Yeah, next topic, Okay, you know I did work with

499
00:27:27.440 --> 00:27:29.920
<v Speaker 1>for miss Hughes when I was on Steve Harvey Moore.

500
00:27:30.000 --> 00:27:32.839
<v Speaker 1>And that's the thing, is like that she is a

501
00:27:32.920 --> 00:27:33.839
<v Speaker 1>radio pioneer.

502
00:27:34.640 --> 00:27:39.119
<v Speaker 2>Yes, And I'll say this, she probably had to do

503
00:27:39.279 --> 00:27:41.759
<v Speaker 2>and I'm gonna I'm not just saying her she had

504
00:27:41.799 --> 00:27:44.000
<v Speaker 2>to fight and do what she had to do to

505
00:27:44.039 --> 00:27:48.960
<v Speaker 2>get where she is now. And I'm sure she fought

506
00:27:49.599 --> 00:27:53.240
<v Speaker 2>because she started I think maybe in the early eighties

507
00:27:53.400 --> 00:27:54.680
<v Speaker 2>she started a company.

508
00:27:54.720 --> 00:27:57.440
<v Speaker 1>If I'm not mistaken, it might have been before that. Yeah,

509
00:27:57.519 --> 00:28:00.759
<v Speaker 1>but yeah, No, she was in radio because she was

510
00:28:00.799 --> 00:28:01.759
<v Speaker 1>at Howard and all.

511
00:28:01.880 --> 00:28:04.480
<v Speaker 2>I just think she she had to go through to

512
00:28:04.519 --> 00:28:09.400
<v Speaker 2>get where she is now. In a male dominated situation.

513
00:28:09.920 --> 00:28:13.279
<v Speaker 1>I agreed, And you know what, I admire her for that.

514
00:28:13.680 --> 00:28:17.200
<v Speaker 1>I think that the important thing for me is that

515
00:28:17.240 --> 00:28:21.319
<v Speaker 1>we yeah nineteen eighty you're right, Radio one started Urban

516
00:28:21.359 --> 00:28:26.920
<v Speaker 1>one now October third, nineteen eighty boom. Yeah. She was

517
00:28:26.960 --> 00:28:30.680
<v Speaker 1>an historian. Yeah, and I get that. I just refuse

518
00:28:30.839 --> 00:28:33.799
<v Speaker 1>to you know what, I'm not going to say that.

519
00:28:33.839 --> 00:28:36.680
<v Speaker 1>I'm going to I'm going to keep it classy. Yeah, well,

520
00:28:36.759 --> 00:28:37.680
<v Speaker 1>you keep it classy.

521
00:28:37.759 --> 00:28:43.440
<v Speaker 2>The other thing, too, is like you can't let being

522
00:28:43.480 --> 00:28:48.720
<v Speaker 2>a woman being an excuse for not succeeding. Like we

523
00:28:48.759 --> 00:28:53.519
<v Speaker 2>can say easily that we were hated on or discriminated,

524
00:28:53.599 --> 00:28:56.200
<v Speaker 2>but we have to find a way to get passed.

525
00:28:56.559 --> 00:28:58.720
<v Speaker 1>No, I don't think it should be an excuse either.

526
00:28:58.759 --> 00:29:00.640
<v Speaker 1>But what I'm trying to do is shine light on

527
00:29:00.680 --> 00:29:02.720
<v Speaker 1>those who did the work, who are doing the work,

528
00:29:03.000 --> 00:29:05.880
<v Speaker 1>because to me, that's the remedy. You know, whether you

529
00:29:05.960 --> 00:29:08.680
<v Speaker 1>made it or you didn't make it, that's subjective. The

530
00:29:08.759 --> 00:29:11.000
<v Speaker 1>question is if you did the work, are you getting

531
00:29:11.000 --> 00:29:12.039
<v Speaker 1>the credit right?

532
00:29:12.079 --> 00:29:14.720
<v Speaker 2>And so that's so that's what I'm talking about.

533
00:29:14.759 --> 00:29:17.359
<v Speaker 1>I'm not talking about being embittered or going oh I

534
00:29:17.359 --> 00:29:20.400
<v Speaker 1>would have been you know, Charlemagne the Goddess. If it

535
00:29:20.440 --> 00:29:24.119
<v Speaker 1>wasn't for these sexists, well, if that's not what God

536
00:29:24.200 --> 00:29:27.759
<v Speaker 1>had that, if that wasn't my assignment, I do believe

537
00:29:27.759 --> 00:29:29.839
<v Speaker 1>my blessings have my name on them. But I do

538
00:29:29.960 --> 00:29:33.440
<v Speaker 1>like to shine the light we were talking about. Jacqueline

539
00:29:33.440 --> 00:29:35.920
<v Speaker 1>Anderson says, miss my bro general Jeff when it comes

540
00:29:36.000 --> 00:29:36.519
<v Speaker 1>to hips.

541
00:29:37.200 --> 00:29:39.640
<v Speaker 2>Yes, indeed, and he raised me not only just a

542
00:29:39.759 --> 00:29:46.799
<v Speaker 2>hip hop pioneer, he was actually a very outspoken homeless advocate.

543
00:29:48.079 --> 00:29:51.559
<v Speaker 2>So I love me some General Jeff. Yeah, rest in

544
00:29:51.599 --> 00:29:52.519
<v Speaker 2>peace too soon.

545
00:29:53.519 --> 00:29:57.160
<v Speaker 1>So on that note, we were talking.

546
00:29:57.000 --> 00:30:00.640
<v Speaker 2>In general Jeff. By the way, for y'all they don't know,

547
00:30:00.920 --> 00:30:03.319
<v Speaker 2>was part of rotteno in Joe Cooley.

548
00:30:03.680 --> 00:30:06.519
<v Speaker 1>Right right right right right before he turned before he

549
00:30:06.559 --> 00:30:09.839
<v Speaker 1>turned into a dedicated homeless activist and sort of stepped

550
00:30:09.880 --> 00:30:12.440
<v Speaker 1>away from the hip hop world. Poetus is here when

551
00:30:12.480 --> 00:30:14.359
<v Speaker 1>we come forward, I want to shine a light on

552
00:30:14.440 --> 00:30:18.279
<v Speaker 1>some women that we think deserve more respect. I mean

553
00:30:18.319 --> 00:30:22.319
<v Speaker 1>Kathy Hughes's legendary. People do know her. She has created

554
00:30:22.319 --> 00:30:25.720
<v Speaker 1>a radio empire in as you say, a man's world,

555
00:30:25.759 --> 00:30:27.400
<v Speaker 1>so we give her respect for that. But I think

556
00:30:27.440 --> 00:30:30.480
<v Speaker 1>most people know about miss Hughes a radio one, But

557
00:30:30.559 --> 00:30:33.160
<v Speaker 1>there are some folks, and we won't get to all

558
00:30:33.200 --> 00:30:35.440
<v Speaker 1>of them, but I want to shine the spotlight on

559
00:30:35.480 --> 00:30:38.279
<v Speaker 1>at least a few that should get more love. We're

560
00:30:38.279 --> 00:30:40.799
<v Speaker 1>doing that all morning because Poetus is here.

561
00:30:40.920 --> 00:30:42.920
<v Speaker 2>Oh yeah, yeah, you're.

562
00:30:42.759 --> 00:30:47.839
<v Speaker 1>Listening to Klap fifteen to eighty. Felicia the poetis Morris

563
00:30:47.920 --> 00:30:52.160
<v Speaker 1>is here. You can find her at Morrismedia Studios, Morris.

564
00:30:51.839 --> 00:30:55.799
<v Speaker 2>Media, morrismediastudios dot com. You can find me at og

565
00:30:56.000 --> 00:31:03.440
<v Speaker 2>poetis on Instagram and on Morris Media Studios, also on Instagram.

566
00:31:03.759 --> 00:31:08.200
<v Speaker 2>If you are looking to even if you're just thinking

567
00:31:08.240 --> 00:31:10.519
<v Speaker 2>about a podcast, hit me up on an email. I

568
00:31:10.559 --> 00:31:13.519
<v Speaker 2>do do free discovery calls where we can just hash

569
00:31:13.559 --> 00:31:20.880
<v Speaker 2>out your idea. Email me at contact at morrismediastudios dot com.

570
00:31:20.960 --> 00:31:23.279
<v Speaker 2>Even if you've just been thinking about it and trying

571
00:31:23.279 --> 00:31:25.079
<v Speaker 2>to decide if it's the thing you want to do,

572
00:31:26.319 --> 00:31:27.400
<v Speaker 2>let's talk about it.

573
00:31:27.519 --> 00:31:30.240
<v Speaker 1>Okay, all right, all right, stop looking at me.

574
00:31:30.480 --> 00:31:30.799
<v Speaker 2>Okay.

575
00:31:30.960 --> 00:31:34.920
<v Speaker 1>Before we do some shout outs here to women that

576
00:31:35.000 --> 00:31:37.240
<v Speaker 1>deserve it, I have to ask you the question that

577
00:31:37.279 --> 00:31:40.599
<v Speaker 1>I've been pondering, which comes first, the hip hop or

578
00:31:40.599 --> 00:31:44.400
<v Speaker 1>the politics? Does the politics influence the rappers? In other words,

579
00:31:44.480 --> 00:31:48.559
<v Speaker 1>the activists on the streets and or those lawmakers, or

580
00:31:48.640 --> 00:31:52.359
<v Speaker 1>is it the artists and the hip hop movement and

581
00:31:52.400 --> 00:31:55.119
<v Speaker 1>the music that's influencing the politics.

582
00:31:55.640 --> 00:32:01.559
<v Speaker 2>I definitely think it's the politics influencing the rappers, because

583
00:32:01.640 --> 00:32:06.559
<v Speaker 2>I remember, like back in the late eighties early nineties,

584
00:32:06.599 --> 00:32:09.440
<v Speaker 2>we had a lot of political rap. I even considered

585
00:32:09.519 --> 00:32:13.880
<v Speaker 2>n WA to be a political group, even though some

586
00:32:13.920 --> 00:32:19.400
<v Speaker 2>people think otherwise. But we pretty much reported what was

587
00:32:19.440 --> 00:32:23.599
<v Speaker 2>going on in politics, especially like with Public Enemy, they

588
00:32:23.599 --> 00:32:28.680
<v Speaker 2>always talked about Bush and things of war and things

589
00:32:28.759 --> 00:32:32.920
<v Speaker 2>of that nature. So I think hip hop was sort

590
00:32:32.960 --> 00:32:37.799
<v Speaker 2>of a reflection of what was going on politically at

591
00:32:37.799 --> 00:32:38.400
<v Speaker 2>that time.

592
00:32:38.720 --> 00:32:42.599
<v Speaker 1>Yeah, I mean, in many ways still is whether you

593
00:32:42.720 --> 00:32:44.519
<v Speaker 1>like what's going on or not as much.

594
00:32:44.599 --> 00:32:52.160
<v Speaker 2>Though I don't hear very many artists talking about Trump to.

595
00:32:52.200 --> 00:32:54.359
<v Speaker 1>The good to the bad. I mean, I'm talking about

596
00:32:54.359 --> 00:32:57.279
<v Speaker 1>like Nicki Minaj going all up in under his coat

597
00:32:57.400 --> 00:33:01.039
<v Speaker 1>tails and people seeking pardons and such. So we might

598
00:33:01.079 --> 00:33:04.119
<v Speaker 1>not think of it, you know, necessarily always on the

599
00:33:04.160 --> 00:33:07.960
<v Speaker 1>positive side, but it's still embedded in the in the

600
00:33:08.000 --> 00:33:09.880
<v Speaker 1>political world.

601
00:33:10.319 --> 00:33:12.720
<v Speaker 2>Yeah. And I just was mentioning to you because we

602
00:33:12.720 --> 00:33:16.839
<v Speaker 2>were talking about women women's roles, and I want to

603
00:33:16.880 --> 00:33:23.680
<v Speaker 2>shout out to all the black women fighting in Washington

604
00:33:23.880 --> 00:33:28.039
<v Speaker 2>every day that are just you know, standing tall and

605
00:33:28.079 --> 00:33:32.240
<v Speaker 2>strong and just forced to be reckoned. With a shout

606
00:33:32.240 --> 00:33:37.759
<v Speaker 2>out to all the black women officials and politicians.

607
00:33:37.319 --> 00:33:41.039
<v Speaker 1>Summer Lease, the Maxine Waters is, the Ayanna Presley's Yes

608
00:33:41.079 --> 00:33:41.720
<v Speaker 1>we see.

609
00:33:41.480 --> 00:33:45.279
<v Speaker 2>You, Jasmine Crockett, AOC, all of them that are just

610
00:33:45.319 --> 00:33:53.799
<v Speaker 2>standing up to the man, not the man, the man

611
00:33:54.920 --> 00:33:55.440
<v Speaker 2>poet is.

612
00:33:55.559 --> 00:33:58.000
<v Speaker 1>Okay, let's let's do some you know, we don't really

613
00:33:58.000 --> 00:34:00.480
<v Speaker 1>do shout outs, but let's do some shout out. I mean,

614
00:34:00.559 --> 00:34:05.319
<v Speaker 1>one one such I would say is Sheena Lester, who

615
00:34:05.319 --> 00:34:07.519
<v Speaker 1>happens to be one of your best friends. Yes, but

616
00:34:07.599 --> 00:34:11.400
<v Speaker 1>she's one who's been in hip hop for many years

617
00:34:11.400 --> 00:34:14.239
<v Speaker 1>and I think probably doesn't get the shine she should get.

618
00:34:14.599 --> 00:34:20.760
<v Speaker 2>No. Sheena was the editor in chief of Rap Pages

619
00:34:22.320 --> 00:34:27.519
<v Speaker 2>back in the early mid nineties, and she really was

620
00:34:27.599 --> 00:34:33.360
<v Speaker 2>one of the most ethical people that I met and know,

621
00:34:34.559 --> 00:34:37.440
<v Speaker 2>because I know at that time people were paying for

622
00:34:37.639 --> 00:34:41.079
<v Speaker 2>magazine covers and that kind of sort of thing with

623
00:34:41.360 --> 00:34:43.280
<v Speaker 2>other hip hop magics.

624
00:34:43.360 --> 00:34:45.320
<v Speaker 1>Right back when, back when the record labels used to

625
00:34:45.400 --> 00:34:47.079
<v Speaker 1>have a lot of money, they used to throw it

626
00:34:47.079 --> 00:34:48.000
<v Speaker 1>around right people.

627
00:34:49.679 --> 00:34:51.840
<v Speaker 2>They used to be having pies. They would send me

628
00:34:51.880 --> 00:34:55.119
<v Speaker 2>out to interview people out in different states. I loved it,

629
00:34:55.639 --> 00:34:59.320
<v Speaker 2>but Sheena didn't play that. She You had to earn

630
00:34:59.400 --> 00:35:02.920
<v Speaker 2>the cover, you had to earn the story. I remember

631
00:35:04.920 --> 00:35:09.920
<v Speaker 2>she did a review and she didn't personally. She hired

632
00:35:09.960 --> 00:35:13.679
<v Speaker 2>writers to do a review, and someone gave an unfavorable

633
00:35:13.800 --> 00:35:18.599
<v Speaker 2>review to Tupac and he called our house. We were

634
00:35:18.679 --> 00:35:22.280
<v Speaker 2>roommates by that time, and he called and left a

635
00:35:22.360 --> 00:35:28.760
<v Speaker 2>threatening message on our voicemail. I think we still might

636
00:35:28.800 --> 00:35:33.360
<v Speaker 2>have that that little mini cassette somewhere with that message

637
00:35:33.360 --> 00:35:39.400
<v Speaker 2>on it. But yeah, he called and threatened Sheena because

638
00:35:39.400 --> 00:35:41.559
<v Speaker 2>he got an unfavorable review.

639
00:35:41.719 --> 00:35:43.719
<v Speaker 1>And of course she's still writing and doing her thing.

640
00:35:44.000 --> 00:35:49.000
<v Speaker 2>Yeah, she's editing. She's still one of the top editors

641
00:35:49.800 --> 00:35:55.039
<v Speaker 2>in the business. She's worked went on from Rap Pages

642
00:35:55.119 --> 00:36:00.440
<v Speaker 2>to work with Hip Hop three sixty when Russell's Women's

643
00:36:00.440 --> 00:36:03.920
<v Speaker 2>put that out. She also worked a Vibe and and

644
00:36:04.000 --> 00:36:08.400
<v Speaker 2>The Grio and a bunch of other publications. So I

645
00:36:08.400 --> 00:36:13.519
<v Speaker 2>would say editing is her passion. But she's also passionate

646
00:36:13.840 --> 00:36:18.320
<v Speaker 2>about black brewers, so she's kind of moving into that

647
00:36:18.320 --> 00:36:25.440
<v Speaker 2>that lane of supporting black brewers. What a name.

648
00:36:25.519 --> 00:36:28.320
<v Speaker 1>A couple other women that you think are underrated and

649
00:36:28.480 --> 00:36:33.320
<v Speaker 1>or don't get the shine. They shouldn't dominy. Yay, Okay,

650
00:36:33.400 --> 00:36:34.440
<v Speaker 1>thank you girlfriend.

651
00:36:35.840 --> 00:36:39.599
<v Speaker 2>Think about that one.

652
00:36:40.159 --> 00:36:43.719
<v Speaker 1>I think about a Cassandra Ware that was her name

653
00:36:43.760 --> 00:36:45.920
<v Speaker 1>from Ruthless Records. She did a lot of work there

654
00:36:45.960 --> 00:36:49.719
<v Speaker 1>building a label, worked with Easy Yes, but she don't.

655
00:36:49.760 --> 00:36:53.079
<v Speaker 1>I didn't see her at the Hollywood Walker firm Harborer.

656
00:36:53.679 --> 00:36:55.960
<v Speaker 2>I just haven't seen her in a while.

657
00:36:56.440 --> 00:36:59.719
<v Speaker 1>Yeah, I'm not sure what she's up to, but she

658
00:36:59.719 --> 00:37:03.519
<v Speaker 1>she was a vice president at Ruthless.

659
00:37:04.159 --> 00:37:10.320
<v Speaker 2>Yeah. Yeah, I will say this, live your passion, do

660
00:37:10.360 --> 00:37:13.679
<v Speaker 2>your passion, and don't worry about getting the credit. I mean,

661
00:37:13.800 --> 00:37:17.280
<v Speaker 2>it's what is credit at the end of the day.

662
00:37:17.400 --> 00:37:22.000
<v Speaker 2>Is that gonna? I mean, I'm not saying everybody wants

663
00:37:22.000 --> 00:37:25.000
<v Speaker 2>their credit and they're just due, but a lot of

664
00:37:25.079 --> 00:37:28.079
<v Speaker 2>us get caught up on I can get my props,

665
00:37:28.719 --> 00:37:28.960
<v Speaker 2>you don't.

666
00:37:29.159 --> 00:37:31.280
<v Speaker 1>No one wants to be a bitter old pioneer. I'm

667
00:37:31.280 --> 00:37:33.719
<v Speaker 1>not saying that, right, but we have the mic, so

668
00:37:33.840 --> 00:37:34.360
<v Speaker 1>let's show.

669
00:37:34.559 --> 00:37:39.880
<v Speaker 2>But yeah, I I'm trying to think, like, really, I

670
00:37:39.920 --> 00:37:44.400
<v Speaker 2>know that Sheena was one that was instrumental in writers.

671
00:37:44.079 --> 00:37:46.039
<v Speaker 1>You know, Danielle Smith. I guess she gets a lot

672
00:37:46.079 --> 00:37:47.440
<v Speaker 1>of love.

673
00:37:47.559 --> 00:37:48.360
<v Speaker 2>She could get more.

674
00:37:49.039 --> 00:37:53.079
<v Speaker 1>You know, she's from the baby no getting no comment.

675
00:37:53.280 --> 00:37:58.760
<v Speaker 2>She hated on my girl, so yeah, t T.

676
00:37:59.400 --> 00:38:02.920
<v Speaker 1>But she's an other writer, y so someone who was

677
00:38:02.920 --> 00:38:06.000
<v Speaker 1>there in the early days and that she was indeed.

678
00:38:06.039 --> 00:38:12.079
<v Speaker 2>Her just do props to so but yeah, m hmm.

679
00:38:12.400 --> 00:38:16.119
<v Speaker 1>Okay, Well we only have a minute and a half here,

680
00:38:16.159 --> 00:38:19.559
<v Speaker 1>but I since we're not gonna do a shout out

681
00:38:19.559 --> 00:38:20.840
<v Speaker 1>list what.

682
00:38:21.119 --> 00:38:24.239
<v Speaker 2>I wasn't prepared and sometimes I'm not that great off

683
00:38:24.320 --> 00:38:26.000
<v Speaker 2>the top of the head, but I do want to

684
00:38:26.039 --> 00:38:29.760
<v Speaker 2>shout out all the women that have encouraged me. Shout

685
00:38:29.760 --> 00:38:34.519
<v Speaker 2>out to my mom and and the women that gave

686
00:38:34.599 --> 00:38:39.239
<v Speaker 2>me opportunity. And maybe I'm out of like a block

687
00:38:39.400 --> 00:38:43.079
<v Speaker 2>now because we were and always have kind of been

688
00:38:43.440 --> 00:38:49.440
<v Speaker 2>in a male dominated field. So any like major moves

689
00:38:49.519 --> 00:38:54.000
<v Speaker 2>or promotions for me were done by men. Unfortunate.

690
00:38:54.480 --> 00:38:57.280
<v Speaker 1>All right, I'm not mad at that, but but you

691
00:38:57.400 --> 00:39:01.440
<v Speaker 1>still unprevailed. Okay, So I we only have thirty seconds,

692
00:39:01.480 --> 00:39:03.519
<v Speaker 1>so I can't I was going to ask you how

693
00:39:03.559 --> 00:39:07.519
<v Speaker 1>you were feeling about this Tupac trial happening now, but

694
00:39:07.719 --> 00:39:09.960
<v Speaker 1>we don't really have enough time. You can give me

695
00:39:10.159 --> 00:39:13.800
<v Speaker 1>just one sentence for reaction. If I just think it's

696
00:39:13.920 --> 00:39:16.920
<v Speaker 1>it's a circus at this point. I mean, I think

697
00:39:17.000 --> 00:39:20.800
<v Speaker 1>all of this information was known back when he first

698
00:39:20.840 --> 00:39:23.719
<v Speaker 1>passed away, So why are we dragging this out?

699
00:39:23.880 --> 00:39:26.159
<v Speaker 2>What is it thirty years? Forty years now?

700
00:39:26.480 --> 00:39:29.079
<v Speaker 1>Yeah, so the question is what are we doing? It's

701
00:39:29.119 --> 00:39:31.679
<v Speaker 1>thirty I think. Okay, yeah, so what are we doing?

702
00:39:31.960 --> 00:39:34.800
<v Speaker 2>Yeah? Yeah, okay, good, Remember to hit me up at

703
00:39:34.840 --> 00:39:38.280
<v Speaker 2>og poet Is and Morris Media Studios if you're thinking

704
00:39:38.320 --> 00:39:41.079
<v Speaker 2>about doing a podcast. That's what we do all day,

705
00:39:41.119 --> 00:39:41.599
<v Speaker 2>every day.

706
00:39:42.239 --> 00:39:44.679
<v Speaker 1>Yeah. Well, I mean, actually we did pretty good. We

707
00:39:44.719 --> 00:39:47.519
<v Speaker 1>still got another minute if you want to say something else. No,

708
00:39:47.639 --> 00:39:50.079
<v Speaker 1>but that was kind of my reaction. And Miles Stt

709
00:39:50.239 --> 00:39:53.000
<v Speaker 1>was talking about why now, you know, just in turn

710
00:39:53.199 --> 00:39:56.360
<v Speaker 1>time for you know, the thirtieth anniversary and all this

711
00:39:57.280 --> 00:39:59.760
<v Speaker 1>marketing type stuff, and my thing was I felt kind

712
00:39:59.800 --> 00:40:03.079
<v Speaker 1>of so I'm hoping that I'm just not jaded, but

713
00:40:03.159 --> 00:40:06.519
<v Speaker 1>I think hearing you say that, maybe that's it's like, yeah,

714
00:40:06.639 --> 00:40:08.119
<v Speaker 1>if you have been doing for the past.

715
00:40:07.920 --> 00:40:11.199
<v Speaker 2>Three decades, well known knowledge over the decades, it's like

716
00:40:11.360 --> 00:40:15.199
<v Speaker 2>this is not new, you know. And so and again

717
00:40:15.280 --> 00:40:17.440
<v Speaker 2>I feel bad because I didn't run down my list,

718
00:40:17.519 --> 00:40:20.079
<v Speaker 2>but well, there's a lot of women have to come back,

719
00:40:20.159 --> 00:40:22.360
<v Speaker 2>a lot of women out there. You got work, you

720
00:40:22.400 --> 00:40:25.760
<v Speaker 2>got instruments. So thank you for your work and all

721
00:40:25.840 --> 00:40:28.639
<v Speaker 2>the crap you had to put up with. All right, but.

722
00:40:28.719 --> 00:40:32.360
<v Speaker 1>Here we are still standing, still thriving, still working in

723
00:40:32.400 --> 00:40:35.280
<v Speaker 1>the business. God bless yes, God bless America.

724
00:40:35.280 --> 00:40:38.719
<v Speaker 2>And thank you always being support of Love you, sis I,

725
00:40:38.800 --> 00:40:39.400
<v Speaker 2>love you more.

726
00:40:40.000 --> 00:40:42.719
<v Speaker 1>All right, News, traffic and sports, and then we're going

727
00:40:42.800 --> 00:40:46.679
<v Speaker 1>to talk about a mystery that was not thirty years

728
00:40:46.679 --> 00:40:51.280
<v Speaker 1>in the making, the strange and curious case of Black Maga.

729
00:40:51.920 --> 00:40:54.519
<v Speaker 1>That's next on KBLA Talk fifteen eighty