Fatherhood is ... Something To Be Celebrated.

Father’s day is in a couple of days. Ugghhh. A day I used to look forward to I began to dread. Father’s day was the day I’d share that great phone conversation with my dad. I’d make the call that he’d anxiously await. Can’t do that now. My dad passed away almost two years ago and now I have no one to call. You see, my dad and I had a complicated situation. Certain choices he made in life made it complicated for him to be a constant presence in my life. We were not Matthew and Beyonce Knowles, but the love was there. Our time together was limited, but when we did get together, what a time it was. No regrets, nothing left unsaid. Everything we needed to say to each other was said before he passed. I am at peace with the situation and can put it to bed. Still miss him though …

What to do? What to do? How would I get through Father’s day without feeling …blah? Determined not to let me stay in a funk, my mom had a terrific idea. Mom reminded me of the many male friends & family members I have who are MAGNIFICENT dads. She reminded me of how they still needed – and deserved- my support and encouragement. And how celebrating their efforts would be a wonderful way to honor my dad. Okay- I thought to myself- but how? A few days later, while on Facebook, my WEEN Sister- Sabrina Thompson- announced a project that was right on time. The Social Series: Pulsing Positive Imagery Through Cyber Space. Sabrina had the idea to combat negative images of black fathers, by illustrating positive images through photography. WOW! Now that’s what the doctor ordered. As a society we get so caught up in emphasizing the bad, we forget to recognize and acknowledge the good. Sure we have issues pertaining to fatherhood- especially in the African American community- but, there are plenty Black dads out there making it happen every day. They wake up every morning, getting out there to make a way out of no way. Often taking on the role of custodial parent, they are faced with the responsibility of being provider, protector, and educator, to say the least. And their efforts in making it do what it do should not go unnoticed. So, when I got wind of what Sabrina was doing, I had to get in on it. I immediately wrote an essay to nominate someone I felt would be a worthy candidate. He’s been a great friend for 15 years, and for those 15 years I’ve watched him be a great dad. It hasn’t been an easy road, but he’s a fighter. And I’ve watched him defy the odds when the odds were stacked against him. He deserved this accolade and I’m glad he was chosen to be a part of this exhibit.

So on this Father’s day, I’m asking that y’all join in with Sabrina & me in celebrating the joys of fatherhood. The same way we can find fault and perpetuate these negative stereotypes, let us dig deep and find a way to negate all that makes us look a ratchet mess. We can’t allow ourselves to remain blinded by the bad, so that we can’t see the brothers who are living up to their responsibilities. Let’s not make sweeping generalizations that lump all black men into one category. We all know brothers who are doing the right thing; therefore let us lift them up and celebrate their contributions to our families, communities and society as a whole. I could only nominate one, but I can honor all of you. So allow me to show “Father’s Day Love” to my brothers Bryan Peay, Mike Peay, Al Medina, Christopher Andre, Darryl Shepherd, Jason Wallace, Anthony Wilson, Garey Johnson, Karriem Radcliffe, David Murchison, and the countless others who are making lasting impressions on the lives of their children every day. We see you. We honor you. We love. We appreciate you. We celebrate you. And thank YOU, Sabrina Thompson. God gave you the vision to provide this platform by which we can make a big deal of our own. We’re showing the world that we too can build strong family structures with solid foundations. All is not lost. Reclaiming their rightful place in our families, fatherhood is something to be celebrated. Let’s do it!

Interracial Dating: WHY The Double Standard?

Up in the wee hours of the morning- with nothing to do- I surf the 'net as usual. Someone on my Facebook page posted a YouTube link that stated “Black women are easy.” Sparking my interest, I skedaddled on over to see what kind of foolishness was poppin’ off this time. Not easily offended, I wanted to check it out before I formed an opinion. I hit the link and there he was: a simple looking white dude named “Whitey McWhite Guy” who was conducting a “survey.” Basically, he’d walk around town asking black women for their phone numbers, and with no hesitation, he’d get it upon demand. At first, I was taken aback. I then wondered was this “survey” real, or were they stage props for his experiment. Either way, I began to wonder: Is there any validity to this claim? Why are we so docile & agreeable when dealing with other races, especially white folks?

Sistas are EASY!!??? That’s the last thing I’ll hear from a Black man. I’m told we are bossy, argumentative, attitudinal, & down right egregious. I’ve heard we make’em “work too hard.” Is this true? Take that same Sista & hook her up with a white dude, and where does all the “attitude” go? Many conversations I’ve had with my Sistas, and when the topic of dating comes up, she has a long, laundry list of criteria that the brothers must meet. Educated, tall, good-looking, financially established, sex-machine, hung like “Buck the Wonder Slave”, no kids, God fearing, mansion, car & yacht owner, entrepreneur, etc. Ask her about dating a white man (or any other race) and all he has to be is a GOOD man. WHAT!!??? Yep. She may request that he has some coins, but, that’s about it. Some of these white boys come at us talking crazy, looking crazy, acting crazy, being crazy, but we accept that behavior because for some reason, we are still honored that white folks are “showing us love”. A Black man comes with the same approach, and he’s getting cussed out! Believe that.

However, this type of behavior & thinking isn’t limited to the Black woman, only. Our brothers have been participating in the same foolery as well. Just the same, when dating a Black woman, she must be able to cook, a certain complexion, weight, look, must be educated, employed, has own apartment, no kids, small waist, big butt, big breasts, nympho, love his mama, etc. Replace her with a white woman, and all she has to be is a “good woman”. She doesn’t have to have anything on her resume but her whiteness, and it’s all good from there on out. It reminds me of a story my dad would often tell me. He was a young boy growing up in the south. And one day- while sitting on the porch with his dad- his dad’s buddy dropped by to say hello. As the two were conversing, the friend mentioned to my granddad that he had a new girlfriend: and she’s WHITE. My granddad asked, “Is she pretty?” His friend replied, “I told you she was WHITE!” Done.

Make no mistake- although it’s not for me- I’m not against interracial dating. Two people meet & fall in love is a beautiful thing. However, let the union be genuine. If you truly love her, let it be because of who she is, not because of who I’m not. Be fair to yourself and your cultural counterparts. Level the playing field by giving the same opportunities to the brother man, that you would the “other man.” By no means am I asking you to allow yourself to be disrespected. At the same time, it is foolish to accept from one, what you would condemn from another.

But maybe I’m wrong. Help me out, holla back …

R. U. Ready!!???

Hey Kids!

Today, I saw the most hilarious thing as I was perusing twitter. Someone from my twitterverse posted a tweet & a pic that jolted my own sense of humor. The tweet read “New rap group coming out. This is the new style nowadays”. In the same tweet was a pic of four young males who are obviously gay. The thought of it made me laugh. Just thinking of the pitiful state of hip-hop, I thought how could these flamboyant fellas possibly represent the rough & tumble that was once the core of the culture? With “was” being the operative word, I began to rethink my position. Suppose. Suppose four young bois come out- sexually & musically- reshaping what we know to be hip-hop. What if their lyrical skills were up to par? Wouldn’t be difficult considering the bullsh*t lyrics we currently accept for entertainment. Combine that with bangin’ ass beats (cause the kids love to shake a tail feather) & a wardrobe of death (y’all know they dress too) it may pop off.

Many say they are evolved. You know- “Gay friendly”. Live & let live. It’s none of my business. But what if a young man stepped to the plate & was ready to swing his bat. Good looking male, tight lyrics, & beats that knocked out of the ball park. He had all the goods and was ready to stand & deliver according to the guidelines we’ve set before him. I believe he’s out there. No. I KNOW he/they are out there, suited up, waiting in the wings. The question is: what will the reception be? Are we really ready for a gay MC? Folks say they are, but I doubt it. Picture it- Brooklyn 2013. You’re riding down Myrtle Ave. in the middle of the night, when DJ Kay Slay drops a new banger on Hot97. EXCLUSIVE! The beat pulsates through your system, shaking your entire car like the Holy Ghost. You & your peoples’ heads nod so hard your neck is about to snap. The hook is catchy, so you must memorize to sing along. And then it happens- the voice of a male emcee begins to ride the track. And as you ride, he rides, & begins to rhyme about riding … a Dude!!??? Hold the press! Did he just say that? Yes he did. The same liberties straight male emcees have taken when expressing their sexuality is now being taken by gays. Like the straights, this emcee is going on & on about the gratification he gets/gives performing oral & anal acts with his same sex partner. Too much? Well, in the next verse he will proceed to brag about how he stole his home girl’s man. AND, will warn the female listener that he’ll take hers too if she can’t do the do. Imagine the video. Imagine him live in concert. Heard enough, radio off. In all honesty, who would want to listen to that? And that’s the only thing that is standing in the way of a gay rapper making his debut. Ironically, the misogyny we’ve turned a deaf ear & blind eye to, would be deemed unacceptable coming from the gay community. Most of us aren’t ready to hear about love & sex shared between same sex couples. We say we are, but …

 Ironically, gay rappers are nothing new to the game. Hip-hop culture has had a homosexual undercurrent since way back. Raring its head a bit in the 80’s, it strongly manifested itself in the 90’s. In this world you have to give to get. You can’t see that much success without some soul selling. We’ve all heard the rumors & the whispers from the gossip mongers, who have caught on to the D.L. scent from back in the Wendy Williams era. The days when she was on Hot97 causing all flavors of drama. The artists, executives, label heads were all a part of this sexual conspiracy. We turned a deaf ear. Dudes denied the charge, but … actions speak louder than words. Still rollin’ with their all male teams, half the cats started looking suspect. The hair & lips became glossy, the jewelry gaudy, and the attitude more, uhmm Bitch-like. Only entertaining women who looked like excessively made up drag queens, they were “coming out” through their ways & actions way back then. With the writing on the wall, our own denial & phobia wouldn’t allow us to translate.

 Let us not forget that hip-hop- an "ol’ boys club"- has been a male dominated field since go. A few lady emcees have been allowed to infiltrate, but at a cost. Most have had to appear overly masculine to be able to compete alongside their male counterparts. Either that, or come off as some over sexed jungle bunny who is extremely submissive to the male bravado & chauvinism that has been displayed by the cats who have ushered her in. With very few opportunities, it has been damn near impossible for a lady emcee to have a successful career & maintain a sense of self at the same time. And their struggle continues.

Times have changed & so have the people. In a brief time frame, we’ve gone from being the CNN of our communities, to something that fails to communicate anything at all. We have gone from strong, brawny representations of men, to these scrawny boys with processed hair & effeminate ways. Wearing sagging, skinny jeans with the purpose of exposing their asses. No pride, no manhood, just straight sissified. What happened to us? Hip-hop was the one place left where a black man could still be a man. Veteran icons Run-DMC came through strong during a time when black men rocked jheri curls, eye liner, & sequined outfits. Those dudes were strong, proud & comfortable in their manhood, as they encouraged others to do the same.

Unfortunately, the writing is on the wall again. Clearly stating that- like it or not- these girly men are coming out & about to make their mark on hip-hop culture. Are you ready? They want to assert themselves to the forefront to be seen as the new representation of what a black male is. Are you ready? The stage is set, the wheels are in motion, and there aint much that can be done about it. R. U. Ready!?

WOMEN'S HISTORY MONTH: Bahamadia.

Bahamadia (Antonia Reed) is a Philadelphia-born hip hop artist born in 1970, and a DJ who later became an MC. As a member of Gang Starr Foundation, she released her critically-acclaimed debut album entitled Kollage in 1996. The album featured production by Guru and DJ Premier of Gang Starr. Kollage was followed in 2001 by BB Queen, an EP release.




Bahamadia is a respected lyricist in hip hop and is known for her silky, subdued monotone delivery. She has expressed a positive attitude toward globalism as an emerging trend in hip hop. For example, in a 2003 collaboration with little-known group the Sisters of the Underground on a track entitled “Global”, she performs lyrics in the chorus which acknowledge Canada, Sweden, Norway, and Thailand, among other countries, for fostering vibrant hip hop communities, and Japan in particular for the dedication of her Japanese fans. She has recorded a number of bootlegs exclusively released in Japan.
Her reputation in North America has been enhanced by a number of highly regarded guest appearances on tracks by artists including Talib Kweli, The Roots, Jedi Mind Tricks and Planet Asia, and through her association with the Philadelphia hip hop collective Army of the Pharaohs.

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WOMEN'S HISTORY MONTH: Nonchalant.

Nonchalant- (born Tanya Pointer) was female MC, and songwriter from Washington, D.C., signed to MCA Records.
Nonchalant is best known for her hit single “5 O’clock”, which peaked at #24 on the US Billboard Hot 100 and was eventually certified gold by the RIAA, for sales of over 500,000 copies. It peaked at #44 in the UK Singles Chart in June 1996. Her debut album, Until the Day was released on March 26, 1996, and while it received positive reviews, it failed to match the success of its lead single, reaching #94 on the US Billboard 200. After her album ran its course, Nonchalant appeared on the song “Keep on Pushin’” from the Dangerous Minds soundtrack alongside fellow female rappers MC Lyte Yo-Yo and Bahamadia. She released a single entitled “Take It There” in 1998, but after it failed to catch on, she was dropped from MCA. Her last appearance was on the Half Baked soundtrack on the song entitled “Flyin’”.



Spread Love ... Its The Bklyn Way.

WOMEN'S HISTORY MONTH: Lady Of Rage.

Robin Yvette Allen aka The Lady of Rage, is an American rapper and actress best known for collaborations with several Death Row records artists, including Dr. Dre and Snoop Dogg on the seminal albums The Chronic and Doggystyle. She is considered "one of the most skillful female MCs" with a "mastery of flow" and "hard core lyrics".


In the summer of 1988, the Lady of Rage met Shahkim of the Original Outlaw Brothers, an upstart rap group from East Elmhurst/Corona Queens New York. From the moment Shahkim heard her rap he was convinced she was the best female rapper around and after convincing her he could get her a record deal, he brought her to his group. The members of the Outlaw Brothers made Rage a member of the group and they eventually were signed to a production deal with the L.A. Posse ( who went on to produce several big hits for LL Cool J). At the time, the LA Posses had several artist in the camp- MC Breeze, The Real Roxanne, and they also had several relationships with different labels. Rage, along with all the artists in the camp worked diligently out of Chung King Studios in lower Manhattan recording , writing and more recording. In 1991, Lady of Rage met with Chubb Rock, providing vocals for his track, "Bring Em Home Safe" on his The One album, which she recorded under the name of 'Rockin’ Robin'.
Dr. Dre then discovered her after the L.A.Posse were letting him listen to some of the tracks on their album and the vocals she recorded for the LA Posse's They Come in All Colors in 1991. She appeared on several tracks from Dr. Dre's 1992 classic The Chronic album, and on Snoop Dogg's Doggystyle in 1993.
In 1994, she had a hit single with "Afro Puffs" (from the soundtrack to Above The Rim) which reached #5 on the Billboard Hot Rap Singles chart. Her debut solo album, Necessary Roughness, was released in June 1997 and peaked at #7 on the Billboard R&B Album chart and 32 on the Billboard 200 Albums chart. Her solo album was originally called Eargasm and was continually pushed back - it was meant to have been the next album on Death Row Records after The Chronic, and then after Doggystyle, before finally being released in 1997.






After the release of her album and a guest-appearance with Gang Starr alongside Kurupt ("You Know My Steez (Three Men and a Lady Remix)") in 1998, Rage left Death Row Records and the music industry generally to focus on acting, appearing in an episode of Kenan & Kel. The Lady of Rage also went on to be featured in several television sitcoms, most notably as Coretta Cox in the very well received The Steve Harvey Show on The WB from 1996 to 2002 - she also had a small part in Next Friday as Baby D, little big sister of Day Day's ex girlfriend.
In 2000, she made another rapping appearance on Snoop Dogg's "Set It Off" on his album Tha Last Meal, a solo track "Unfucwitable" on Snoop Dogg Presents...Doggy Style Allstars Vol. 1 and "Batman & Robin", which appeared on Snoop Dogg's Paid tha Cost to Be da Boss album.
In 2007 she signed to Shante Broadus' label, Boss Lady Entertainment, and recorded a mixtape called From VA 2 LA. She also made appearances on Bigg Snoop Dogg Presents…Welcome to tha Chuuch: Da Album and Cali Iz Active.
She was part of the FEM (Females Earning Money) Movement along with fellow female rappers Babs, Lady Luck, and Amil. In 2008, she performed with MC Lyte, Yo-Yo, and Salt-N-Pepa at the BET Hip-Hop Awards. In the summer of 2010 she joined Snoop during his headlining set at the Rock The Bells festival concert series, along with Warren G,  RBX and Tha Dogg Pound for a performance of the classic Doggystyle album in its entirety.


Lady of Rage describes much of her rapping technique in the book How to Rap - she notes the importance of having a strong vocabulary, writing poetry, having different styles of flow, using 'rests', researching lyrics, taking your time to write lyrics, working with producers, doing guide vocals, and her compound rhymes in the track 'Unfucwitable' are broken down.

Yeah ... Rock On Witcha Bad Self!

Spread Love ... It's The Bklyn Way.

WOMEN'S HISTORY MONTH: Heather B.

Heather B. Gardner kept it HARDCORE from jump! From Jersey City, New Jersey, she is billed in all projects as Heather B., and is most well known for being a cast member on The Real World: New York, the first season of MTV's reality show The Real World. One of two African American roommates, Heather was portrayed as a friendly, intelligent young woman with aspirations to become a rap superstar. She forged an unlikely friendship with naïve Alabama girl Julie; a memorable early clip from the season has Julie asking Heather if she wears a beeper because she is a drug dealer. Y'all remember that?


Heather was affiliated with the rap group Boogie Down Productions, and was signed to Pendulum Records in 1995. In 1996 she released her first album, Takin' Mine. The single "All Glocks Down", an anti-gun violence anthem, received moderate radio play, as did the follow-up single "If Headz Only Knew."







In 1997, Heather signed with MCA Records, and in 1998 she released a two track single called "Do You".





Outside her music career, Heather has appeared in various projects and television specials related to The Real World. She also appeared in the film The Wedding Video directed by Real World alum Norman Korpi, and a 2005 television commercial for America Online anti-virus software.


Heather B is gearing up for her third album release entitled, "Open Bar" on GIWOM Entertainment. The album is Executive Produced by Legendary Producer and Gangstarr Member, DJ Premier. The first single is "The Game Don't Stop" produced by BDP Productions member, Kenny Parker. Additional production on the summer 2010 release is coming from Pete Rock and Large Professor.

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WOMEN'S HISTORY MONTH: Nikki D.

Nikki D was the first female rapper signed by Def Jam Recordings. She signed with Def Jam in 1989 and released her debut single "A No No No" the same year. It was produced by Sam Sever. The single's video featured Flavor Flav, titled "Letting Off Steam". Later Nikki D released the more commercially acceptable song, "Daddy's Little Girl" some two years later, which reached No. 1 on Billboards Hot Rap Singles.





Prior to releasing "Daddy's Little Girl", Nikki D was on tour in Europe for a year with fellow R&B artist Alyson Williams. Nikki D has recorded songs with Moby, Queen Latifah on the Set It Off soundtrack, with Redman for his Muddy Waters album, EPMD, Naughty By Nature, Flavor Unit and Suzanne Vega.
In 1998 Nikki D became the vice president Of A&R at Flavor Unit Records, a position she held for two years. She was the marketing manager at "Phat Fashions", the apparel company that housed Phat Farm, Baby Phat, and Atman. Now she is Brand Manager for PrivacyWear, as well as running her entertainment company Strong Entertainment, with artist such as Shaun Pynne, and Problem Child.


Spread Love ... It's The Bklyn Way.

WOMEN'S HISTORY MONTH: Yo-Yo.

Yo-Yo -born Yolanda Whittaker- is a Grammy-nominated female MC and Actress. Much of her music has advocated female empowerment, denouncing the frequent sexism & misogyny found in hip-hop music. She is the protege of veteran rapper Ice Cube. Yo-Yo dubbed her crew the IBWC, which stood for the Intelligent Black Woman’s Coalition.
Yo-Yo first appeared as a guest on Ice Cube’s AmeriKKKa’s Most Wanted album in 1990, on the track “It’s a Man’s World.” Cube returned the favor by appearing on “You Can’t Play with My Yo-Yo,” which was on Yo-Yo’s 1991 debut album, Make Way for the Motherlode.





Her follow-up in 1992, Black Pearl was well-received by critics, partly because of its focus on positive messages and uplifting themes that contrasted the popular gangsta rap style. However, despite a plethora of renowned producers such as DJ Muggs, this did not translate into a hit with mainstream hip-hop audiences, and the album’s sales were considered a disappointment.




Less than a year later, released her follow-up You Better Ask Somebody. The final track on the album was her third recorded hip-hop duet with Ice Cube, “The Bonnie and Clyde Theme”.
Yo-Yo’s next album was 1996′s Total Control. In 1998, she finished her fifth album, Ebony, but it was not released.
In 2008, her single “Can’t Play With My Yo-Yo” was ranked number 92 on VH1′s 100 Greatest Hip-Hop Songs. Later that year, she performed with MC Lyte, the Lady of Rage, and Salt-n-Pepa at the BET Hip Hop Awards.
As of 2009, she has been at work on an EP, titled My Journey to Fearless: The Black Butterfly.
She appeared in the 1991 film Boyz n the Hood, 1993′s Menace II Society and other urban-oriented films; had a recurring role on the television show Martin as “Keylolo”, the sidekick of comedian Martin Lawrence‘s alter ego Sheneneh; and appeared on other TV shows, including the Fox network’s New York Undercover. She has also made many cameo appearances, including the music video for Missy Elliott‘s “The Rain (Supa Dupa Fly)”. She has also appeared in the video game Grand Theft Auto: San Andreas, as a voice actor.


Spread Love ... It's The Bklyn Way!

WOMEN'S HISTORY MONTH: Monie Love.

 

"Strong, Steppin', Struttin', Movin' On/ Rhymin', Cuttin', And Not 4Getting'/ We Are The Ones To Give Birth 2 The New Generation Of Prophets/ 'Cause It's Ladies First."- Monie Love.

Simone Wilson – aka  Monie Love, is an English MC and former radio personality in the United States. She is a well-respected figure in British hip hop, and made an impact with American hip hop audiences as a protégé of female American MC Queen Latifah, as well as through her membership in the late 1980s/early 1990s Native Tongues. Also, Monie was one of the first BritHop artists to be signed and distributed worldwide by a major record label.
Monie began her hip hop/BritHop career as an emcee in the British Jus Bad crew, which featured DJ Pogo, Sparki, and MC Mell’O‘. The group released the single “Free Style/Proud” on the independent Tuff Groove record label in 1988.
Mo first gained critical and commercial notice in the United States in 1989 for her cameos in Queen Latifah‘s Grammy Award-winning and pro-woman single “Ladies First,” in the Jungle Brothers‘ well-received single “Doin’ Our Own Dang,” and in De La Soul’s hit single “Buddy.” The acclaim led her to a recording contract with Warner Brother’s Records, making Love one of the few British hip-hop efforts released by a major label. She also has a place in Hip-Hop history as a member of the Native Tongues, a positive-minded hip-hop collective that included Queen Latifah, De La Soul, A Tribe Called Quest, the Jungle Brothers, and a number of other acts. Her versatility was demonstrated with her involvement in the emerging popularity of House music, with her own single Grandpa’s Party as well as providing rap for the The Dancin’ David D Remix of Adeva’s house hit Respect.





Monie’s debut album, Down To Earth, spawned two, Grammy-nominated hits, “Monie in the Middle” high school-set track dealing with a woman’s right to determine what she wants out of a relationship and “It’s a Shame (My Sister)” The Spinners’ “It’s a Shame” written for the band by Stevie Wonder and featured house-music vocalist and then-labelmate Ultra Naté. The album reached #26 on the Top R&B/Hip-Hop Albums chart.






Mo was featured on her brother Dave Angel‘s remix of Whitney Houston’s R&B hit “My Name Is Not Susan” in 1991, and appeared in the music video alongside Houston. Love’s 1992 single, “Full-Term Love,” from the Class Act movie soundtrack, reached #7 on the Hot Hip-Hop Singles chart.
Monie collaborated with Marley Marl on her second album, In a Word or 2 (1993), which featured the Prince-produced single “Born To B.R.E.E.D.” (which reached #1 on the Hot Dance Music chart and #7 on the Hot Rap Singles chart), as well as a re-release of “Full-Term Love.” The same year, Prince asked her to write lyrics for a few songs on a side-project, Carmen Electra‘s eponymous album, Carmen Electra.
Mo’s last musical release was the EP “Slice of Da Pie” in 2000.
From 2004 until the week of December 11, 2006, Monie was the morning drive host on Philadelphia’s WPHI-FM 100.3. The 22 of December 2006 edition of the Philadelphia Daily News confirmed that Mo left WPHI-FM on amicable terms after contract negotiations stalled. Monie’s departure from WPHI followed soon after her December 2006 interview with Young Jeezy, where the two argued over whether hip hop is dead.
Monie is also an Official MySpace.com DJ, according to her MySpace page. She currently resides in Philadelphia, Pennsylvania, and is the single mother to four children. Currently, she has a radio show on called Ladies First Radio with Monie Love. It airs Thursdays 6PM ET and Sundays 8PM ET.

Spread Love ... It's The Bklyn Way!