Joe and Jada - Monie Love on Queen Latifah's genius, Cardi B's star power & Fat Joe's Native Tongues connection

Summary

Podcast Summary: The Herd with Colin Cowherd – Joe and Jada: Monie Love on Queen Latifah's Genius, Cardi B's Star Power & Fat Joe's Native Tongues Connection

Date: February 10, 2026
Podcast: The Herd with Colin Cowherd (iHeartPodcasts and The Volume)
Guests: Monie Love, Fat Joe, Jadakiss

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Overview

In this deeply personal and nostalgic episode, hip hop icons Fat Joe and Jadakiss sit down with trailblazing rapper and radio personality Monie Love to discuss her storied career, the impact of Queen Latifah, the rise and relatability of Cardi B, and Fat Joe’s longstanding link to the Native Tongues collective. Their conversation is rich with hip hop history, industry insights, tributes to legendary figures, and candid reflections on the evolution of music, radio, and female empowerment in the genre. The trio also share personal anecdotes, highlight underappreciated voices, and offer sharp commentary on social media and music industry politics—all delivered with warmth, humor, and authenticity.

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Key Discussion Points & Insights

Monie in the Middle: Origin and Legacy

• Monie describes the origins of her hit "Monie in the Middle," explaining it was not intended as a personal brand but took on a life of its own.
  • “I had no intention of it becoming a thing... I really didn’t think that it was gonna grow legs of its own.” (Monie Love, 03:05)
• She reflects on how being “in the middle” became synonymous with her – even outlasting her typical name recognition.

Crossing the Atlantic: Monie’s British Roots and Hip Hop’s International Rise

• Monie shares her journey from London to the United States, discussing how British youth built their own hip hop scene after absorbing U.S. culture through movies and cassette tapes.
  • “We watched Wild Style… Breakdance… Beach Street… we were enthralled and totally absorbed into the culture.” (Monie Love, 05:14)
• She talks about how, despite early exposure, British fans didn’t realize stars like Slick Rick had UK origins until later.

Breaking Through: Getting Discovered & Early Record Deals

• Monie recounts securing her first record deal at 16 in England, and the skepticism and protectiveness from her Jamaican father over contract negotiations.
• The group discusses the widespread financial exploitation in the industry in their early days, noting, “everybody got robbed and robbed and robbed.” (Fat Joe, 08:11)

Joining Native Tongues: The Queen Latifah Connection

• Monie details her introduction to the Native Tongues crew through a mini-touring event brought over by ambassador Dave Klein.
  • Her first meeting with Queen Latifah and the Jungle Brothers led to her being inducted into the collective and eventually collaborating on “Ladies First.”
  • “Latifah had a bigger plan... She wanted to do something that... spoke to women—big ups, strengthening women, fist in the air.” (Monie Love, 12:22)
• Monie describes the high-energy, collaborative recording process of “Ladies First,” writing verses in real time and running between studio corners to share them.

The Evolution of Female MCs & Industry Dynamics

• The hosts and Monie compare the earlier sense of “family rolling” among crews—male and female solidarity—to the current era’s more individualistic approach among top female artists.
  • “I think it’s more independent individualism, entities like that.” (Monie Love, 20:45)
• There’s pointed commentary on gatekeeping in hip hop, preservation of legacy, and industry politics—especially for women who became pregnant during their careers and the pressure to hide it.
  • “They shamed us. Especially in my time, they shamed us... I was three months pregnant... And the label reps were like, ‘What are you gonna do?’” (Monie Love, 36:23)

Cardi B, Social Media, and Star Power

• The hosts unanimously agree that Cardi B is a master of social media, attributing her enduring popularity to authenticity and relatability rather than just hits.
  • “She could wake up... not even be in one of her outfits yet, and it's a top post because there's always a level of relatability... She just. Without even trying.” (Monie Love, 33:34)
• Monie draws parallels between her own public pregnancy during her prime and Cardi’s, both facing and pushing back against industry pushback.

Radio Wars: Hot 97 vs. Power 105 – The Artist’s Struggle

• Monie details her unexpected transition to radio, from training for her FCC license to 10 years at Hot 97 and later Power 105, sharing inside perspective on the intense, often cutthroat radio politics.
• Fat Joe and Monie reflect on the dilemmas artists faced navigating loyalty between major stations, market politics, and the pressure to “pick a side.”
  • “We just wanna make this music... as an artist you shouldn’t have to worry about that… You should be creating, you know, the art and then let that rock.” (Monie Love, 49:03)

Paying Homage: Influential Female MCs and Hip Hop Legends

• Monie Love names women who “gave her the gusto” to pursue rapping:
  • Pebbly Poo – “She instantly was like one of my favorites.”
  • Roxanne Shante – “She was fearless. She'd take on anyone, anywhere, anytime.”
  • Salt-N-Pepa – “Everybody that embraces their body in their image today took a page out of Salt-N-Pepa's book.”
  • MC Lyte – “Her superstar presence even in high school inspired me.”
• Personal stories are told about running into legends at pivotal moments, from Guru to Chubb Rock, underscoring hip hop’s interconnected lineage and the importance of acknowledging influence.
  • “As men... we don’t really sit people down and tell them how much they influenced us...” (Fat Joe, 69:33)

Wisdom, Research, and Preservation of Hip Hop Culture

• The trio discuss the vital importance of younger artists knowing their history and researching those who came before.
  • “It behooves a person to know what came before them because it helps them do what they do even better... That's why it's called research.” (Monie Love, 22:22)
• Analogies to boxing (“Floyd Mayweather switched his style mid-fight after studying tape”) reinforce the need for legacy awareness in every field.

Interpersonal Stories & Social Media Realities

• Monie recounts a misunderstanding stemming from an online comment by Fat Joe, turning it into a lesson on social media entitlement and the behind-the-scenes bonds among hip hop artists.
  • “Relax on social media, okay? ... You don’t get to tell me how I speak to Joey, because that’s my little brother.” (Monie Love, 60:39–63:53)
  • She highlights Joe's support of her family during hard times as an example of real-life connections unseen by online observers.

Hip Hop Consciousness

• The group discusses the role of conscious lyrics and messages, citing artists like KRS-One and Nas, and regrets the diminishing presence of socially aware music today.
  • “You missing that in hip hop today, people dropping them type of jewels where the next generation could feel proud and know where they came from.” (Fat Joe, 73:06)

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Notable Quotes & Memorable Moments

• Monie Love on Queen Latifah’s leadership:
  “Latifah always seems to have this, like, science, this mad scientist mindset... She knew what she was doing. I’m just the rowdy one... But she knew she wanted to do something that made sense, that spoke to women.” (12:02)

• On hip hop research:
  “The study of what comes before you is what helps to make you great at what you do in any field.” (Monie Love, 27:16)

• On Cardi B's appeal:
  “We still like her first. Thank you for saying that. I did like her first before anything.” (Monie Love, 34:02)

• On industry sexism:
  “They shamed us... The label reps were like, ‘What are you gonna do?’ And I was like... it means I’m having a baby. What you think it means?” (Monie Love, 36:23)

• On social media and real-life bonds:
  “Relax on social media, okay? ... You don’t get to tell me how I speak to Joey, because that’s my little brother.” (Monie Love, 60:39–63:53)

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Key Timestamps

| Timestamp | Segment/Key Topic | |------------|-----------------------------------------------------| | 03:05 | Monie on “Monie in the Middle” and its legacy | | 05:14 | UK hip hop scene and Slick Rick’s origins | | 06:34 | Monie’s first record deal at 16; father’s skepticism | | 10:00–11:09| Native Tongues: Meeting Queen Latifah & Jungle Bros | | 12:22 | “Ladies First” recording session | | 20:45 | The shift from hip hop crews to individualism | | 33:34 | Cardi B’s star power through social media | | 36:23 | Industry pressure on pregnant female artists | | 49:03 | Radio politics and impact on artists | | 51:02–55:00| Female MCs who inspired Monie Love | | 63:22 | Monie on her real-life bond with Fat Joe | | 73:06 | The lost art of conscious rap in current hip hop |

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Conclusion

The episode is a heartfelt, entertaining, and enlightening deep dive into hip hop culture and history. Monie Love’s memories and analysis provide crucial context for younger listeners and fans. The chemistry and camaraderie between the hosts and their guest give the conversation humor, heart, and substance, skillfully linking hip hop’s past, present, and future.

Transcript

[A]

You can scroll the headlines all day and still feel empty. I'm Ben Higgins, and if youf Can Hear Me is where culture meets the soul. Honest conversations about identity, loss, purpose, peace, faith, and everything in between. Celebrities, thinkers, everyday people. Some have answers. Most are still figuring it out. And if you've ever felt like there has to be more to the story, this show is for you. Listen to if youf Can Hear me on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts at.

[B]

Charmin. We heard you shouldn't talk about going to the bathroom in public, so we decided to sing about it.

[C]

Light a candle, pour some wine, grab a roll.

[D]

The soft kind for a little me time.

[B]

Charmin Ultra Soft Smooth Tear.

[C]

Wavy edges for my rear.

[B]

So let the softness caress your soul. Just relax, you're on a roll. Let her rip.

[D]

Charmin Ultra Soft Smooth Tear.

[B]

Charmin Ultra Soft Smooth Tear has the same softness you love now with wavy edges that tear better than the leading one. Ply Brand. Enjoy the go with charming. And you can pull up the tape from Arsenio. You can pull up the tape from.

[C]

You was pregnant on Hell, yeah.

[B]

I was on Showtime at the Apollo talking about Moni in the middle. Really in the middle. Moni in the middle. Really in the middle.

[C]

Yeah, yeah. What up, y'? All? This is Joe Crack the Dawn.

[D]

Know who it is? Your boy, Jada. This is the Joe and Jada Show. Every show legendary. Every show iconic.

[C]

That's right.

[D]

Today is very special. Not only do we have an iconic, legendary icon of the culture, we have one of my friends. You have somebody that contacted me to get on the show, but she's here because she's a legend. She was gonna be here regardless of the fact of that. But my. My business partner over here owes her an apology. Cause he was, you know, he might have had the fur. It might have been expensive fur rubbing against something or, you know, it might have just had a little brain freeze at the moment. It happens to the best of us. But, you know, we're going to get into that before we get into a deep conversation. But, ladies and gentlemen, make some noise for our guest today, Mooney Love.

[B]

Yo. Legendary introduction.

[D]

You like that, right?

[C]

Moni deserve that. Moni, yo. And wish yet.

[B]

No. And y' all did that deliberately, too.

[C]

Yeah, I did it. I pulled it off.

[B]

You guys did that deliberately.

[C]

You're the first artist to be in the middle. I said, y', all, come on, we need. Honey.

[B]

I was getting ready to sit over.

[C]

There, and Joe was like, right Here, I like it.

[D]

You don't like being there. You made the middle famous.

[B]

Can I please tell you, I had no intention of it becoming a thing within itself. When I wrote that song, it felt good. The music was talking to me. It told me to write that. What I wrote came up with the hook. It felt good, but I really didn't think that it was gonna grow legs of its own. I mean, surpassing.

[C]

You go to your kid's school, the teacher be like, we're gonna put her in the middle. Like you. Like you tie.

[D]

Yeah, you should have patented. She's supposed to get some money off the middle of everything.

[C]

Like, honestly, the middle of the mall.

[B]

The middle of anything besides the song doing well. And it was the first song that I was up for a Grammy for besides any of that. I didn't know that years later, people would see me and they wouldn't necessarily say, that's Moni Love. They will say, that's Moni in the middle.

[D]

Yeah.

[B]

Like it grew its own leg.

[D]

Yo, she's like the female Slick Rick that mixed with Dana Dane. How could you still got such a strong accent after being Hereford? You seen everything in here.

[B]

It's not that strong. It's not that strong.

[C]

When I say one of my questions I was gonna ask, you know, when I go to Puerto Rico, there's some Puerto Ricans that look at me like a fake Puerto Rican. They be like, yo, you ain't Puerto Rican. Because I didn't grow up there. I wasn't born there. Like, are you more considered American in London or. They like, she's from here.

[B]

Okay, so that's a really interesting question. At this point, I'm 55 now, right. So. So at this point in my life, I've actually spent more time in the United States than I have in the country of my birth, because I left England when I was 17 years old. I was born there. I did all my schooling there. I grew up there pretty much. You know what I mean? I came here after I got a record deal. I got a record deal at 16, and then I came here when I was like, 17. Yeah.

[D]

Wow.

[C]

Yeah. Did you and Slick Rick. Because Slick Rick grew up in the Bronx. I think he might have came even younger than you.

[B]

He came when he was a toddler. He must have came when he was like, four or five or something like that, because we didn't even. In England, we developed our own scene based on what was happening in the United States at the time. We watched Wild Style, you know, movies. We watched Breakdance we watched Beach Street. We were enthralled and totally absorbed into the culture to the point where we created our own pseudo hip hop scene in England and all the surrounding areas, and then all the way in all the countries in Europe. That's how much in love with the culture that came from the United States that we were. So we didn't even know that we could embrace Slick Rick as our own. When we were listening to Slick Rick on the radio, we didn't realize. And then we started to realize, oh, wow, he's originally from here, as in the uk. And then we realized he, you know, oh, he's one of us. But he must have moved to the United States when he was 5 or something like that, because it's not like he grew up. And we came to know of Slick Rick in England before coming to America.

[C]

Growing up in London, right, because we, we have guests all the time, legends and all that. Everybody's story is similar but unique, right? So how the hell did somebody discover Moni Love in England and give her a record deal at 16? And you come over here and it pops off.

[B]

So the first record deal that I signed was in England. Like I said, we fell in love with the culture from watching movies and also getting like 10th generation cassette tapes of radio shows recorded, you know what I'm saying? Like, we would listen to Red Alert and stuff like that, but it would sound like eggs and bacon cooking when we're listening to it, because it's like been dubbed a good 15 times out.

[D]

Of air in this.

[B]

You know what I mean? And so we fell in love with the culture. We created our own scene, and then we started putting on our own in England as young, young teenagers, you know. And then at the same time, it was blowing up in the United States, so record companies in England started to see what was happening in England and they wanted to sign their own artists also. So a lot of us were getting record deals in England, you know. So I got my first record deal with Chrysalis Records, which was later swallowed by EMI Records. But Chrysalis Records is where I had my original deal, and that was at 16 years old. Like, my, my parents had to sign my recording contract. And you know, my dad. Yeah, okay, you met my dad at the Palladium, right, in New York. That's a whole nother story I'll tell you.

[C]

Right?

[B]

Yeah, but.

[D]

Great dude, but.

[B]

So my Jamaican Rastafarian father looked at this contract and was like, I wear this and was. I mean, I signed this, this, I wear this. What Kind of contract is this. Like, my dad was not impressed. It took some going back and forth with another attorney to straighten out some stuff that my dad was looking at before my father.

[C]

In them days, nothing was straight. Even if it was 10 attorneys on this.

[B]

It was terrible.

[C]

Nah, they robbed everybody at the. Everybody.

[B]

It was terrible.

[C]

And then it looked like everybody. Nobody did not get robbed. Every. I could break down Missy Elliot. I could break down Jelly. Riley got robbed and he went and robbed them over there. And this. That everybody got robbed and robbed and robbed and robbed.

[D]

The Ace got robbed.

[B]

Who?

[C]

Rob Bass.

[B]

Did he? Did he?

[C]

I don't know. I never said. Rob Bass.

[D]

Yeah. Nah, I just asked.

[C]

Well, you know, I used to be on the 132nd, and he from the projects right there. What's that? Washington projects on 132nd at Park Avenue. Rob Basis from there. Okay, no, Rob Basis from Harlem, man. Drew Tom Felon, 132nd, bro. I used to see Rob Bas. He was like, the biggest in the world.

[D]

Harlem, man.

[C]

Harlem brother. Rob Basie from Harlem don't do that.

[B]

Yeah.

[C]

Yo, Kiss, man. We in fucking London. You sidetrack us to Harlem with Rob.

[B]

How we get to Harlem from Little Sidetracked too much.

[C]

How do you come over here and you connect with the legendary native tongues? And did that happen? How did you get into that crew right there?

[B]

So Dave Klein, that used to work for Def Jam, God rest his soul, was like an ambassador and used to bring artists from the United States to England and the surrounding European countries to do mini tours. And he brought over Queen Latifah and the Jungle Brothers. On one particular tour, it was Queen Latifah, the Jungle Brothers, Chiral Robbery, and True Mathematics. They all came over to do a mini tour. They went to Germany first, and then on a tour bus, on a ferry, came over to London and then was doing shows in London. I was at one of those shows, and I had built, like, a reputation for myself in London. You know, there's this girl coming up, she's from South London, she's dope, blah, blah, blah. And I was at this show. So the guy that run the club introduced me to Dave Klein. And then Dave Klein, who was with, you know, Latifah and Jungle Brothers and stuff. And Dave Klein introduced me to Jungle Brothers, Queen Latifah, the other groups that were there. And that's when me and Latifah first met. And that's when me and the Jungle Brothers first met. And the Jungle Brothers, Tribe Called Quest and De La Soul are The three head groups of the native tongues. So whatever they say is gonna happen as far as native tongues and who's gonna be a part of it, that's what goes. And from me in Africa and rhyming to Latifah, rhyming to Africa, them getting the gist of who I am and that I was indeed dope. And so then they were like, yeah, she's gonna be down. We're gonna put her down. And it was during that trip that Latifah was like, we're gonna do a song together at some point. And then it was eight months later that me and Latifah recorded Ladies first at Powerplay Studios in Queens.

[C]

What does Ladies first mean to you?

[B]

For me, when we did Ladies first, it was, I'm here, I'm rhyming on this. This is dope. And I'm gonna spit, and it's gonna be dope. That's what it was for me. Latifah had a bigger plan. When she invited me to do Ladies first, she had a bigger plan. And now, in hindsight, when we do shows together. Cause we still do shows together. Latifah is like a mad scientist where she'll call me yo, yo, light and Rage, like, out the blue. And it'll be like, we form Voltron. Like, she'll be like, what are you doing? Such and such a day? All right, let me call yo, yo, what are you doing? What are you doing? Like, what are you doing? Rage. And we'd be like that. We're with it. And we'll just all go out to wherever Latifah is, and we'll form Voltron and get on stage and do this, like, two hour ensemble show.

[C]

Crazy.

[B]

Which is. Which is crazy, right? But Latifah always seems to have this, like, science, this mad scientist mindset where she knows what she's doing. So back then, we were 18 years old recording Ladies First. We were actually in our late 17th year, so we didn't turn 18 yet. Right. Recording late.

[D]

First mature track.

[B]

Very mature track. And she knew what she was doing. I'm just the rowdy one, you know, the Ramaholic that's just happy to be here. But she knew she wanted to do something that made sense, that spoke to women as far as big ups to women, strengthening women, fist in the air for women type vibes. She knew that's what she wanted to do. So once she gave me the gist of all right, this is where we going with it. I was like, cool. So we're in our respective corners, right in the studio. So I write a verse. This is how excited I was. I would write a verse, right? And then be like, La La. Listen to this. Listen to this. I'd go over to her corner, be like. And then say the rhyme, right? She'd be like, yo, that's dope. I'll be like. And then she'll kick me hers. I'd be like, yo, that's dope. We run back to our respective corners. We write another eight bars. Yo, yo, yo, listen to this. Come back to each other. I spit the next eight bars. She spit the next eight bars, excited as ever. We did the whole session like that. The whole session was just electric.

[C]

Yeah, they losing that now. Now they send your shit to Colorado.

[D]

Yeah, yeah.

[C]

It's not. It's not in your face no more. It's not that energy. I forgot who came up here and was like, yo, we was in the. I think it was daylight. So somebody was up in here that was like, they was together, and they was just jumping in and. And rapping. Like. You know, when I did Flo Jo, I didn't even know what punching in was real. So I did the whole Flo Jo without punching in, and they was there, and when the hook came. You got a Flo Jo, everybody.

[D]

We need to come in there, help each other.

[B]

I'm glad you said that. I'm glad you said that.

[D]

To make it stronger.

[B]

I'm glad you brought up Flo Jo. I bet that you have absolutely no idea how we, especially us Native Tongues, looked at you and loved you and was so excited. Excited for you when you first came out. Because there's a. There's a huge bloodline between you and Native Tongues. I bet you didn't even know that.

[C]

No, I want to hear it. How do we know? Giving me goosebumps.

[B]

You're Chris's artist.

[C]

That's right. Do you know.

[B]

Chris was our road manager before he made any business moves, as far as having an office, as far as having violated records, as far as having. I mean, I'm getting choked up just thinking about this right now. Chris was our road manager. Chris was one of the Violators as far as Red Alert's posse. That's who the Violators are. You know what I'm saying? I remember us walking all of Native Tongues, all the groups. Dela, Jungle Tribe, me, Latifah walking into a venue one night, and this is how the. The Violators and the Bronx. This is. And me coming from England, I'm looking over all of this. Like, yo, are we being road managed by the Mafia? Like, what's going on right now? Definitely the Mafia, because the Violators walk up in the venue with these long leather puff trenches and the belt with the belt. Sit us in a room. All the groups like I just named, sit us in a room. Wait here. Nobody touches a mic. Nobody shows their face to the public. Nobody does nothing until we get this bread, stay in this room. Violators walk off, Chris walks off. Couple of them stay with the rest of us. Chris comes back, everybody out, huh? We not performing. Nope. Everybody out, right? And basically what that is is if we get in the building and the venue, money ain't right. Chris is like, nobody's touching a mic. Nobody's touching nothing. The promoters are looking at, it's the Jungle Brothers, it's De La Soul, it's Tribe Core Choir. Everybody's here. This show's gonna be crazy. You can't. They gonna tear. My club is like, that's not my problem. You ain't got my money, right? Everybody out. Chris has always been thorough. So it was no surprise to me that he then made his business moves and created Violator Records. And then when he put you out, we're all looking at you like, that's our little brother. That's our little brother. We are super proud of him. Look at this.

[D]

Wow.

[C]

You know, the man put me on, man, changed my life, you know, he came, I was in the Streets, signed me. And what was crazy, now that you saying that, right? Because I know Chris from the Streets. Every time I did an album, because he was involved with my first three albums, even though I wasn't signed in for Don Cartagena, we still had this ritual. We sit in the car and I play in the album. If it wasn't gangster, Chris ain't want to hear. He be like, yo, Fat Joe the gangster. Fuck that. I need some shit, yo. Yo, he used to sit there. I don't think he ever wanted me to be commercial. He'd be like, yo, Fat Joe the gangster. I need the hard shit sitting there. Yeah, yeah, this. That shit. He was just so proud of us, you know? You know, like everybody, you know, like, DJ Khaled was Terror Squad. Then he went and made we the Best. So if you. If you about the culture, you really love your brothers, you get happy for them to, you know, D Block.

[B]

Yes.

[C]

From Rough Rocks. So even though I went and did my own thing, Chris Lighty would come to the album release for Big Pond. Now, he felt like you saying, yo, that's our little brother. He don't know it. He would show up when they saying Fat Joe's the Terror Squad, the Big, the Don. He would always show up and he'd be like, yo, I'm proud of you. And then walk out the joint. You know what I'm saying? Russell Simmons was like that, too. Russell Simmons. Every time we did some Terror Squad album release or something, he come show his cheekbone for two minutes. Yeah, it's a flag. Good on that.

[D]

Yeah, you good on that.

[C]

You know, they got these things here that you could throw whenever you get upset or whatever. Moni's chilling, man. She ain't down with that shit. You know what I mean?

[B]

Do I have that?

[C]

Yeah, you have it. Everybody has it.

[B]

I do. Okay. Okay.

[C]

The way they usually do it is any guest that comes, they tell you ahead of time, before we record, Joe says some dumb shit, throw it at him. They don't say Jadakiss. They say, fat Joe's gonna say some dumb shit, throw it at it.

[D]

That was originally made for you.

[C]

Flag on the play.

[D]

But I wanted to say. I wanted to ask, say this because you see how hip hop and the game evolved with female MCs now. It became almost like. It became like, civil. They have a chokehold on their game for a nice amount of time.

[B]

Yeah.

[D]

But when you seem like native tongues, Tom, it was very protective of you and lie and whoever. Even the females. That wasn't native tongue. It seemed like, I don't know, is it the money? Is it the success of now or that change? Even though some is still. We gonna make sure the females is always good if we somewhere Ramdale or anybody there.

[B]

Yeah.

[D]

That's just because we from a different cloth. But I'm talking about as the game. Hip hop as a whole now is when the females is rocking. It's just like the females not. You see what I'm saying? They segregated the game.

[B]

I think I know what you're saying. Are you saying that, like, you've noticed that a lot of the successful women seem to be kind of just like, rolling and not necessarily with their male brothers and counterparts. Like, it used to kind of be like families rolling, like, you know what I'm saying? Like that. Is that more or less what you're saying?

[E]

That's what I'm saying.

[B]

I don't know. I definitely think that women do have a really strong chokehold on the forefront of the game right now. Like, I really do see that. I can't be mad at it. I think that there's just a lot more independent artists. Not independent artists, like putting independent records out. I mean, just independent entities. It's less. Kind of like family rolling, you know what I'm saying? Let's. Let's. We're your crew. You got Remy, and it's all of y'. All. You know what I'm saying? And you're rolling like that. It's native and it's me a lot.

[C]

And we rol.

[B]

Rolling like that. I think it's more.

[D]

Yeah, you're right. It is more.

[B]

I think it's more independent individualism, entities like. Like that.

[C]

You know what I was thinking about? We're in Miami for the big college game. Um, Indiana. Incredible experience.

[D]

Incredible understatement.

[C]

I'm standing on the sideline, and I see all the legends, right? And they amping up. These kids. These kids are what, 18, 19, and something that came to me. Do you think they watch footage of these legends? Like a young kid, 18, 19. Does he go back and says, why is this OG keep screaming at me, telling me what to do?

[D]

Nah, they know.

[C]

Do they go to the video tape?

[D]

They know. I think the coaches, you know, like Coach Rich and them, will show them tapes. And then the ones that want to make it, they. They really want to see who their forefathers was at that position last time they won the chip. Who was the best at this particular position. The thing is, you know what I.

[C]

Mean, it starts here, right? The females, do they go back and be like. When they listen to us, we be like, yo, Modi's a legend a lot cheaper. Do they go back and say, let me check out what they were doing at that time?

[B]

Okay, so do y' all think that the younger, the newer guys do that?

[D]

I think certain ones, like, now they call me. They called me the interview guy at the desk station. But that's why I actually know everything. Every one of your projects. Everything from lie. Everything from somebody like that who say her name again.

[B]

And that's why she's an anomaly, a fact.

[D]

Well, you asked me to give you one.

[B]

No, but that's what I'm the reason. Why am I going to get a flag right now? I got a flag. I got a flag. But that's why I asked you that specifically, because you said. Key thing that you said is some. That's the key. Some. You know what I'm saying? Because I think that the viral explosion and just the bigness of the Internet and social media and everything has allowed a lot of folks to feel like a lot of folks that's been here in a lot less time to feel like they know everything. And so that's why. And so that's why it's. Some people do their research. And I say that not to be snotty or snidey or anything like that. I say it because in any field, not just music, in any field, in any business, in any occupation, it behooves a person to know what came before them because it helps them to do what they do even better. You know what I'm saying? You don't have to learn everything from your own accord. You can learn some stuff from some other people. That's why it's called research.

[C]

Life, Sparing my life, you know what I'm saying? You know, in Fat Joe's wicked way of thinking, you know, a guy like Floyd Mayweather, his uncle, his father were champs, and Floyd Mayweather became dead. Nice. Floyd watched a lot of tape, okay? I watched one fight where he was doing the Floyd, and he was losing like six rounds in a row. I think some Mexican guy was on him and he switched up the whole style, like in the seventh round, and just he started doing some other shit. He beat the guy senseless for the rest of the fight. When they interviewed him, he was like, yo. I mean, he was ready for me. And I switched up to Jack Dempsey, you know, Like, I thought about the. The fight, Jack Dempsey. I don't know if it was Jack Dempsey, but he said, one of them old guys. And he was like, yo. From watching the film, I had to figure out who I had to fight, like, to beat this guy. Because if I'm just straight up, Floyd Mayweather, he got my number. So about the sixth round, he just switched the whole style up on him and was like, killed him. Like, killed him. But he was like. And I remember, I was looking, I said, damn. He really watches the footage.

[B]

Case in point, that's it right there. And you talking, and that was a beautiful analogy because you talking about. About boxing, which is another fine art within itself, you know what I'm saying? It makes sense, you know what I'm saying? And to bring it back to hip hop, how you think when the DJ battles were going down right back in the days, and how you think they got nice enough to be able to get to the world Final championships and go up against each other is because they're all sitting, watching tapes. I said it in another interview one time, they're sitting. Clark Kent would sit in his basement and have some of us sit there in his basement and watch videotapes of other DJs and their routines. And see, look. You see when Jazzy Jeff did this right here, Moni, you see? And I'm sitting there like I'm an emcee. Why am I here? You know what I'm saying? Y' all are DJs. Why am I here? No, but I'm trying to show you something. Cause Clark Kent did make me learn how to dj.

[C]

He ain't taught you how to dj.

[B]

Yes, Yes.

[C]

I want to shout out, rock Raider, rest in peace.

[B]

And that's what I'm saying. That's another one. That's another one.

[E]

Yeah, give it up.

[B]

That's another one. That's another one right there.

[C]

He did the scratches on Flo Joe. See, Raider was, like, down with digging in the crates.

[B]

Absolutely.

[C]

I don't know exactly how, but he was down with us. And whenever we needed scratches, I'd be like, yo, Rock, he was the coolest guy in the world.

[B]

And Rock Raider's nasty. Rock Raider was nasty. Like, I know this. I remember this.

[C]

You know what I'm saying? And he be smiling while he doing the moves and them routines. Like, Rock Raider was, like, super smooth.

[B]

And so it was the Same thing with MCing. Same thing. Like, for me, I used to listen to Set it off by Big Daddy Kane, like how singers have people that they do the scales with. Singers and trainers that be, you know, let's do the scales and stuff like that to get their voices right. I used to listen to Big Daddy Kane Set it Off to get myself right, because it was a choppy, let alone get bold. I just can't hold back, you know what I'm saying? And I would be doing that, like the discotheque and the scoovis. What's next? You know what I'm saying? Get your mouth right, you know what I'm saying? And that's how I developed a style to be on some. Excuse me, but I think I'm about to. I get into precisely what I am about to do. I'm conversating to the folks who have no whatsoever clue. So listen very carefully as I break it down for you. Mary, Mary, Mary, Mary. You know what I'm saying?

[D]

No doubt.

[B]

To bring it back to what you're saying. Absolutely. The study of what comes before you is what helps to make you great at what you do in any field.

[D]

Clark forced you to learn how to dj, did you? Yeah. What did you take with that?

[B]

It gave me a deeper respect for hip hop in itself because I started in London when We first embraced the culture. I wasn't rhyming at first. I was. I was breaking. I was a B girl.

[D]

B girl, no doubt.

[B]

Yeah, right? So it allowed me to embrace another element of the culture when Clark was like, no, you gonna learn. You gonna learn how to bring a record back. You gonna learn how to recognize it. Here, I put the tape markings on it. That's the one. Bring it Back to the 1. Flip the fader. Bring it back to the 1. Flip the fadER. Put the earphones on one side. Have the other ear kind of open so you can hear what's going on. Bring it back. Flip the fader. Bring it back. Flip the fader. You know what I'm saying? Cut it back.

[C]

Talk me around, Graffiti. I just did a train.

[B]

I know you do.

[C]

I ate a train the other day. A New York City train the other day. Yeah, we snuck in the yard, huh? With spray paint. Man, you don't know I'm a graffiti.

[D]

I watch you doing your shit.

[C]

Oh, I'm gonna show you the pictures. I hit a train. Me and Bayer. But listen. So graffiti, some of the best came out LeBron. One thing I try to do is DJ, and that sucked. I've never, ever successfully nowhere. And, yo, I used to go to Surge House every day, and I just sucked. Like there's nothing. I can't dj.

[B]

But you can't write, huh? But you can graph. You write tag.

[C]

I write.

[B]

Write. Okay, well, then you got two. I got two. You three. You was a B boy. You was a B boy.

[C]

You break down here.

[D]

Yeah, I still got.

[B]

You was a B boy.

[D]

I still get on the floor.

[C]

You got fluidity.

[D]

I mean, I still got fluidity. Yeah, I got women.

[C]

Listen.

[E]

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[A]

This month, iHeartRadio is celebrating the stars of the 2026 Winter Games. The pride of Starksboro, Vermont, Ryan Cochrane Siegel carries one of the most famous names in American skiing history. A super G specialist with a silver medal already to his name, he attacks the mountain with a smooth, technical style that separates him from the pack. Known for finding speed where others find trouble, he drops into Milano Cortina looking to upgrade his silver to gold. For Cochrane, Siege Eagle skiing fast is a family tradition. For more Winter Games gold, search olympics on the iHeartRadio app.

[D]

What do you.

[A]

Do when the headlines don't explain what's happening inside of you? I'm Ben Higgins, and if you can hear me, is where culture meets the soul, a place for real conversation. Each episode I sit down with people from all walks of life, celebrities, thinkers and everyday folks. And we go deeper than the polished story. We talk about what drives us, what shapes us, and what gives us hope. We get honest about the big stuff. Identity when you don't recognize yourself anymore. Loss that changes you Purpose when success isn't enough. Peace when your mind won't slow down. Faith when it's complicated. Some guests have answers. Most are still. Figure it out. If you've ever felt like there has be to to be more to the story, this show is for you. Listen to if you can hear me on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[C]

Let's tap back to like social media. If you think now is the birth of only love and there's social media, do you think your career would have been super amplified more now that there's social media?

[B]

Honestly, I think any of us, any of us from my era or y', all, because I'm the big sister, y', all, my little brothers, you know What I mean, so go back to me, Go back to your big sister and all of my set. If we had the platform of all, all of these platforms now, absolutely everything would have just been magnified for sure. You know what I mean?

[D]

That's a fact.

[B]

Yeah.

[C]

And who do you think that's A female artist that does social media. Well, uses it now. And you be like, man, she know how to play that game.

[B]

Oh, we all know. That's Cardi.

[C]

Cardi does.

[D]

Yeah.

[B]

I mean, that's a, that's, that's a, that's a no brainer.

[D]

Wrap it up with Cardi.

[C]

Utilize.

[B]

That's, that's an. Absolutely. That's a, that's a no brainer. She could wake up first thing in the morning and don't even be any of her outfits yet. And it's a top post because there's always a level of relatability in there. You know what I mean? She just. Without even trying, you know, I always.

[C]

Said people loved her first and then she made great music and then is that again.

[B]

I think that's really poignant.

[C]

Yeah. And then she just hit it out the block with that Bodak.

[B]

We still like her first.

[C]

Yeah, we liked her.

[B]

Thank you for saying that. I did like her first before anything. Yeah, I did. And what's really cool for me about Cardi is regardless of the fact that she's like, she's not my age group, right? So, like, some people would be like, well, how do you, how do you relate to Cardi B at all? For me, it's her mothering. When she wakes up and she has her, her whatever gripes she's having that morning about being a mom or the kids doing this or acting up or whatever and oh, I got to get this. And kids making a in the background. I get it because when I look at it, I'm like, oh, my God. And then I'll say to my daughter who's in here, right? I'll be like, sholina, look at this. You remember when I used to, you guys used to say things and embarrass me and then I used to do this or I used to say that to you guys. It's just I find all of these relatable moments in her parent world for me. And I had four kids, you know what I'm saying? At her age. I didn't, no, no. Cardi beat me a little bit. I wasn't helping. I spread mine out a little bit more.

[C]

She moved.

[B]

But I do have the same amount of kids as well.

[C]

Cardi might come next week. I'm pregnant again, guys. I think she's the first female that ever intentionally got pregnant in her prime and still worked and went on tour. Pregnant, still popping.

[B]

So intentionally. Maybe. But first, no, that was me. And you can pull up the tape from Arsenio. You can pull up the tape from.

[C]

You was pregnant on Arsenio?

[B]

Hell, yeah. I was on Showtime at the Apollo talking about Moni in the middle. Really in the middle. Moni in the middle. Really in the middle.

[C]

That's a fun fact.

[B]

Pull the tape up. I'm glad you said that. Cause that's another reason, one of my early reasons, why I related to Cardi. Because when she was pregnant that first time and came out and was like, on stage and publicly and everything, I was like. Because I understood it, because I was there. I was in that exact position on stage front, doing everything on Obsidio hall.

[C]

The thing they used to do in hip hop. And they probably still do it. That's why I hate these people. The business always got like a stereotype. Like a female artist can't have a voice.

[B]

Oh, no. They shamed us. They shamed us. Especially in my time, they shamed us. Like the record label. I was signed to Chris List in England, but I was signed to Warner Brothers for the United States and Canada. And I was pretty much without them actually saying it. Like, I was three months pregnant with my daughter that's in here. My oldest one now, right? She's 34. I was three months pregnant with her. And the label reps were like, well, what are you gonna do? And I was like. I said, I'm three months pregnant. What you mean, what I'm gonna do? Well, you know, what are you gonna. And I'm like, it means I'm having a baby. Like, what you think it means?

[D]

Yeah, Fuck.

[C]

Like, they telling you to take an abortion, huh?

[B]

You know what I'm saying? Without saying it. Trying to say it without saying it, without saying it. You know what I'm saying? The record rep at the time. And I was just like, I was 19.

[C]

Very sexist business.

[B]

Cause it was that summer around my birthday that I found out, right? And so she was born right before I turned 21. Right? Cause I was 20 when I found out I was pregnant. So by the time I turned 21, she was here. I thought back to the time, and I'm like, I'm so glad I made that decision. Like, there's nothing I would. It would have never went any other way. You know what I'm saying, and my kid. My daughter has asked me that before. She's like, mom, do you think that you would have did it any differently and maybe you would have not had kids so early? And I was like, no, if it happened all over again, I would have did it the same way all over again. Like, it wasn't a question for me. And that, again, bringing it back to Cardi is another reason why she spoke to me, and that's why I took a liking.

[C]

She fall into her own hands. Because I'm sure they were telling that you're a sibling. Boo. You're this, you're that. And she was like, no, I'm pregnant. And I'm outside. Like, no, because really, outside women were having babies, but they were hiding it.

[B]

Yeah, right.

[D]

They was making the ladies.

[B]

I was on tour. I was on tour till I was seven months pregnant. I was on the Triple Threat Tour, Bel Biv Devoe, Keith Sweat and Johnny Gill. And I opened up for them till I was seven months pregnant. You know, the workflow, it continues. The workflow continues.

[D]

Did you ever think you would lead into getting into radio?

[B]

No, that was.

[D]

How did that happen?

[B]

That was an accident. Do y' all remember Steve Smith?

[C]

Yes.

[B]

God rest his soul, because he passed away.

[C]

He passed away.

[B]

Steve Smith actually is the person that created Hot 97 as what it was the flagship in the first place. Right. He called my manager one day, and by that time he had had certain people in place already at the station. It was newly flipped. Angie was there already. Angie was at the station before it flipped to hip hop format there with the house music. Exactly. She was already there, so. And I think she worked her way up. She's like foundational at that station. Right. Flex was there already and I think they had Ed and Dre on in the morning. And Steve Smith called my manager one day and was like, oh, do you think you could come in and take a meeting with me and, you know, to discuss maybe. Moni love being on the radio. So my manager. My manager came from England with me. My manager's name is Steve. He's from Liverpool, right. Which is outside of London. So we went. He didn't tell me what we were going there for. And Sat spoke to Steve Smith. He was like, what do you think about being on the radio? And I was like, I am on the radio. My music's played on the radio. Right? And he was like, no, being an actual radio personality, I was like. Like a disc jockey. Like, why would I want to do that? And he was like, I Think you have a really good personality. I was like, yeah, but I'm on the other side getting interviewed by the disc jockey. I don't see myself as a disc jockey. Right. So he's like, let me teach you, let me help you get your FCC license. What's an FCC license nowadays, huh? Nobody needs an FCC license to be on the radio now, but back then you had to have an FCC license. So I trained on air in the unsociable hours so nobody could hear me because there was a lot of mess ups. And as a matter of fact, myself and Ms. Jones, we were training at the same time together on the radio at like 2 o' clock in the morning, talking about our love lives and how we can't stand these men, not realizing the microphone was on. This is the type of mistakes we were making on Air at 2 o' clock in the morning as we trained to get our FCC license, you know what I'm saying? So bottom line, we got our FCC license, I got mine. And then I was on weekends on Hot 97. Tracy Clody that was working underneath. You remember Tracy?

[D]

Yeah, I know, I remember.

[B]

She used to put me on all the time. Whenever Angie went on vacation or whenever Wendy went on vacation, I was the go to like, we need you to work. Two weeks Wendy's going on vacation for her birthday or whatever it is, we need you to work or Angie's taking off a vacation. We need you to work. Angie doesn't want anybody else interviewing her guests but you. You can do it. Angie said she trusts you, blah blah, blah. So that's how I got my chops in radio, you know. And then I was at Hot 97 for 10 years. I was there for 10 years. And the year that I left and went over to power 151 was when Steve Smith been left. Hot 97 went away for a little while, came back and then created Power 151. Yeah, and, and yeah, and then I got hired over there. And the year that I, my first year of working there was the year when there was a lot of mess happening between Hot 97 and Power 151. That involved Jay Z, that involved Nas, that involved some noose hanging thing that was supposed to happen.

[C]

Turning Power to switch. The first thing they was doing at Power is they was making the artist do these promos that said I made switch. That was like, that was crazy. You gotta understand how 97 in the whole country was known like the first full hip hop station. And they had so much power and leverage in this market, think about New York City didn't have two stages. It was just high 97. And when power opened up, the first thing was like, yo, Locks, come here. Say you made this switch. As an artist, you were scared. Cause Hot 97 was saying you could go over there. But if you say you made the switch, don't come back here.

[B]

Don't come back.

[C]

I mean, it was a real, you know, yo, you know, New York City.

[B]

So serious. I wasn't. I was. I wasn't. I was a powerhouse of five. One still going to summer Jam. Like, I was chilling the. The kid. This my daughter that's in here, right? Teen at that time, we're going. I'm going to summer jam. She wants to go. I got her tickets. We go. We're sitting in the stands watching the show. Okay? Stiles is on stage doing. I get ha ha ha, right? Every day. My daughter's next to me. I get ha ha, I every day, every day, Right, right? And then while we're there doing that, Patty Duke comes up the stairs to where the section I'm sitting, and he's like, you know what's going on at your station right now with the mean twist face. And I'm like, what? And he was like, nas is on air right now talking smack. I was like, what that got to do with me? I'm at the concert, my daughter's singing, I get high. I'm like. But it was serious. Like, the beef in me.

[C]

You know what also happened. You know what also happened was because I'm a prime example of that, right? Like, prime example I had. Like, if I had beef for 50 cent and somebody I thought I was cool with or I gave an opportunity or I put in the game, rocked with them in any way. I was tight. I was like, yo, we not rocking no more. We not. You know, it's over like this. You gotta pick a side. And I just think all of that. Biggie, Tupac, all that. It was the first time that type of stuff was happening, and we didn't really know how to react. Now when I look at a hip hop beef, I seen it 40 times already. So I already know how this thing's gonna play out, whether in a good way or in a bad way. You know, back in the day, somebody dissed you, you had to jump out. You didn't have to, but that's how it was. You jump out. Now you got eight guys dissing 50 Cent. Guess what? He ain't put gas in the car. He said, yo, I ain't even talking bad. I don't care. And it went away, you know, but that's after years of watching rap beefs unfold and what happens and this and this and that. That's after experience. But when that first came out, it was like Hot 97 was the only show in town and Power came out and Nas is up there and what are we gonna do to wireless collapse?

[B]

But you know what I wanted to ask you.

[D]

I knew it was real. When the label. The label drop a single or drop a project, they send you the Hot 97. They do whatever they do. Boom, boom, boom. Then they pat you on the back. Well, you got your own relationship with Power. And then go, you. You take the. What the fuck is that?

[B]

That's what I would. That's what I wanted to ask you to.

[D]

You're literally telling me you only supporting me over at this and I gotta go handle. That's the fuck.

[B]

That's what I wanted to ask you to. Because at that time, it was different for me because I had transitioned into being on radio. By that time. I was being on air 11, 12 years. So I had transitioned. You guys were still actively putting music out. So how was that for you?

[C]

I've always been a boss, so, like, I've always worked my own records. I've always worked like, you know, it was different for me. Even towards halfway during my career, I had like, distribution deals. I didn't have where I got to. I'm signed to the laby. So the thing I knew, I knew the real politics. Like, I still know the real politics. So the real politics is, yeah, Hot 97 is the grandfather of this shit. And they run it. And we gotta be a little bit loyal to them because they did put us in the game. They played Flo Jo first, so we gotta be like that. But they were also telling me Power 105 is owned by a company that owns 40 other radio stations. So if you try to front on power 105, they will not play your shit in America. So now what do you want? You want to keep it real with Hot 97. Meanwhile, you got. Let's call it what it is. You got dictators like ebro on fucking Hot 97. Like, you don't come here. We run the show. He people like that.

[B]

I need my water now. Hold on, hold on. I need my water. Yeah, yeah, yeah. I need my water now. People, this is you just now I'm getting a hot flash. You just bought some other shit on. It's all cause you there now.

[C]

Continue no, I'm just trying to say that people like that were, like, trying to control the game, you know, almost like in a muscle way, but without flexing the muscle. But just like, you know, we won't play your shit. We got the number one station. We did this, this and that. And he was quick to be like, yo, matter of fact, we don't. You've seen that interview when the man told Kodak Black who's the hottest guy in the world, you ought to get out of here if you want.

[D]

Leave.

[C]

Like, he was bigger than Kodak Black. Like, they was. I'm not singling out Ebo because it was a lot of that shit there where they felt like, yo, we birthed y'. All. This we got to know, and then y' all going over there. But what they was up against, what they didn't realize, is that that station came with 40 other stations. So it was like, do you want to be the hottest on high 97, which we all know and loved, or you want to get played in 40 other stations? Now, if you go over here, you say, fuck power. You're done in the country. So it was that type of shit going on. And so you had to find a way to finagle both situations. It was hard.

[B]

That's what I thought.

[C]

It was just really, really, really hard.

[B]

And it's not fair because y' all.

[D]

Favors, but you had to do.

[C]

We just wanna make this.

[B]

That's what I'm saying, y'. All, as an artist, you shouldn't have to worry about that. You shouldn't have to worry about that. Should just be creating, you know, the art and then let that rock and then bring it to the cities and perform it. Shouldn't have to worry about the politics of the radio stations, which none of us own shares in. You know what I'm saying? So that's. That's why. And that is. That is my mindset.

[C]

Say it slow. What you say? Uh huh. He says, say it slow. Huh?

[D]

Talk slow to them.

[C]

Talk slow to them. Yeah, that's like dying over the hood, talking about this, my block. They don't own shit.

[D]

Not even the shit they live in, you know, But.

[B]

But that is why, bringing it back to me, being at the concert when that was happening and that whole thing was happening on air on Power with Nas and all of that, you know.

[C]

That'S why I was thinking, yo, I just got a better job, but we still family. I worked with y' all for 10 years.

[B]

Exactly. And. And my daughter wanted to come to Summer Jam Like, I knew that shit.

[D]

Was a crock of shit when I went to one of them and the other one had a little radio over there playing the other one. Then the other one had a little ready.

[C]

Oh, they was listening to what every.

[D]

Yeah, they did, you know. Yeah, they did go to power. They got a little radio tuned in. Hot 97. You go over there and vice versa.

[C]

So, Moni, tell me a couple of female artists that you respect their contribution to the game, you know, from day one till now.

[B]

Oh, I love this question. Okay. Pebbly poo. I love me some Pebbly Poo. Because when I first came here and people in this country first started hearing me rhyme, a lot of the elders at that time when I was a baby in the game told me that I remind them of pebbly poo.

[D]

Mm.

[B]

And so she. I started listening to her, and she instantly was like one of my favorites. Roxanne Shantae put the battery.

[D]

Please believe it.

[B]

Because she was fearless. She was fearless. She'd take on anyone, anywhere, anytime. Doesn't matter. So watching her and listening to her, that gave me the courage that I needed to leave the bathroom and not stop being a toothbrush in the mirror wrapper. She put the battery in my back. I would say that Salt and Pepper, to me, all of the girls that are that embrace their bodies in their image today, to me, took a page out of Salt and Pepper's book.

[C]

Oh, man. Salt and Pepper's big.

[B]

Because they were really. Yeah, they were the.

[C]

We need Salt and Pepper on this show.

[B]

Oh, that's for sure. Shout out to Salt and Pepper musical. Yeah, yeah, yeah.

[C]

We need some. They beyond legendary.

[B]

Yeah, yeah. And then, of course, my immediate sisters like Light. I went to school with Light. I went to George Wingate High School.

[C]

In Brooklyn with MC Life. Yes, she was a superstar. Very young.

[B]

She was a superstar. Then when I was going to high school with her. Yes, she was a superstar. She was rocking.

[C]

Going to high school.

[B]

Yes, yes. And on Friday nights, get Special ability to be that young and be able to walk up in Latin quarters and.

[C]

All of that chillish.

[B]

I was so jealous.

[C]

I would hear this whole world, like, she had that.

[B]

She was a kid phenom. Mc.

[C]

Wow.

[B]

Yeah. Mc. MC Likes.

[C]

Yeah, Yo. But is that around the time Special Lab was killing? Yo, Special Lab was special. Remember we used to think he had, like, a fake hand, right?

[B]

Who used to think Special Lab had a fake hand?

[D]

That was a room when they had that in the starter.

[B]

Are you kidding? Yeah.

[C]

But he said he always had his hand Inside. You was down with him.

[B]

He had his hand inside in the video for I Got It Made because they filmed it in winter at Grand Army Plaza.

[D]

That's when they first. That was the beginning of the rumors. That was the beginning of the cast.

[C]

Still on all three. Yo, I didn't know that. That's crazy, man. Light is just incredible. I like where she's at in life.

[B]

Yeah.

[C]

Where her voice. She's doing voiceovers now for movies, everything. And she's producing and directing movies.

[B]

A lot of stuff. Yeah, but she was that. She was that kid back then that was just like, you still in high school and you tearing up a club on a Friday night. Like, what? You know. Yeah, yeah, yeah. Light. Light was. And I didn't tell her that I could rhyme. I was at George Wingate High School for like six months. My mother moved here. I was living at my grandparents house on East 28th street between Clarendon and Cotillia in Brooklyn. And I went to the high school and I met Light and we were cool. But I did not tell her that I could rhyme because I'm. She comes to school on a Monday with stories about being up in the same club as Big Daddy Kane, getting on stage after him. What do I have to say? I have nothing. I'm not telling her that I even utter a word, much less. It wasn't until I went to England and then she came over there doing shows and obviously knew me because we went to high school. And then I told her I also do this.

[C]

Wow.

[B]

You know, it was then. And then, you know, we got tight as far as on the artistic level also. So that was pretty cool. But, yeah, she was that kid.

[D]

Yeah.

[B]

Yeah. Those are the ones that I would honestly say influenced me, put the battery in my back, gave me the gusto, allowed me to feel brave to enter this world. You know, those were definitely.

[C]

It was your big chummy every day.

[D]

Oh, man.

[C]

Oh, your first big show.

[B]

Yo, my first big show was at the New Music Seminar when I performed Ladies first with Latifah for the first time. It was at some high school in Manhattan somewhere. Because the New Music Seminar happened every year at the Marriott Marquis Hotel. Exactly. All the labels, all the had all their top artists or new artists that they wanted to showcase and show off.

[C]

DJ battles.

[B]

DJ battles world supremacy. That makes sense to me.

[C]

I was going to see Clark Kent had a battle and we was online and he had my vinyl for my album. I'm like, yo, my man, how you. My album wasn't even out for like Four months after, I'm like, how you get the vinyl? He was like, yo, I'm a dj. We came tight from there.

[D]

That's ill.

[B]

So way before that, because, you know, you gotta remember, I'm old compared to you youngins, right? I did perform at the New Music Seminar, and that's when Latifah performed, because Tommy Boy was putting her as one of their new artists at the time to perform in a showcase, a Tommy Boy showcase. So I was there, I performed. And I never will forget that. Guru ran up to me at the end of the performance. It was the first time I ever performed Ladies first. I hadn't heard Ladies first for six months after it was recorded until the day I had to perform it on stage with Latifah. At that show. Shaqim shoved me in the bathroom with a record Walkman. Walkman. With a Walkman.

[C]

With a Walkman.

[B]

And said, just listen to it over and over and over. We go on in 10 minutes. What? And that's what I did. And I was scared, and I didn't want to come out the bathroom. Special Ed was there knocking.

[C]

Yo, Moni, you gotta come out.

[B]

You gotta come out. And I'm like, I'm going to crap myself. I'm so scared. Got up, went into autopilot, performed it, Tore it down. Latifah tore it down when she did Ladies first and bought me out. Tore it down, right?

[C]

And Guru ran up, ran up to me and said, what?

[B]

Yo, I didn't know you could rhyme like that. And that was, like, so special to me that Guru did that. That's actually why on my EP that's out now, I redid Skills, but Emil did the hook.

[D]

Mm. Right.

[B]

Yeah.

[C]

You got out of retirement.

[B]

Emil did the hook on that.

[C]

What's the name of the latest project?

[B]

It's called Love Notes. Yeah, Love Notes.

[C]

Love Notes. Everybody out there, Love Notes.

[B]

But that's a tribute to Guru Fire. And that's the only reason why Emil did it, is for hip hop, because it was a tribute to Guru. That's the only reason why she did it, because she flat out was, I'm not messing with this no more, Mo. I'm so far removed from any of this. I'm not. And so she was like, the only reason why I'm doing this MO is for you and for Guru and for hip hop. And that's the only reason why she got on that hook.

[D]

I respect that.

[B]

Yep.

[C]

My brother. I love him.

[B]

Yeah, man, that. That.

[C]

That. That was a tribute to him, you know? Shout out to elove. LL Cool J to camp. They lost a brother.

[B]

Yeah, I gotta. I gotta do it.

[D]

That was. That's the only special.

[B]

In every video. Like, we knew. This is E. You know what I'm saying? So rest in peace.

[C]

To E. You know, that's crazy because the way you just did that, that's how I always looked at Eric Beach.

[D]

I thought he was the originator of that.

[C]

I thought he was the originator.

[D]

He might be the originator of Ice Grill, though.

[C]

He was the originator of Ice Grill. He was one of the originators of Fly. They had all the jury on. He was the first one with, like. I don't know. I'm just saying. Because sometimes when I say, like, historical facts, Melly Mel will come in the dm, somebody come and be like, somebody come for you. Because like you said, Joe's our little brother. Everybody feels like that. So if I say something and the timeline ain't accurate or something like that, they'll hit me.

[B]

Which reminds me, since you say this, I'm fried.

[C]

Monus. Don't debate me on it.

[D]

You go right to the fire.

[C]

I get it wrong all the time.

[B]

No, but listen, let me just give everybody the quick synopsis, right? So I love this show, right? So I watched the show, and I saw Joe say something one day when he was like, you know, when. When my. When daylight was on here. And I was like. And Joe was like, you know, I wish she would have came out with something on her own. And I was like. I was at a radio station event for the station because I'm on KISS 104.1 in Atlanta from 3 to 7 on weekdays now every day, right? So I was actually at an event for the station when I saw the clip. So I hit poss. But wait, pos Looks so confused in the clip, right? Cause it's like he's thinking about it, but it's like. So then I was like. I filmed myself saying, joe, come on, Joe. I was like, come on, Joe.

[C]

Let me explain something to you. The part you're missing is that I called you phenomenal. Super with the.

[B]

No, I didn't miss none of that.

[C]

Oh, no, you still.

[B]

No, I didn't miss none of that. I didn't miss none of that. I was just like, I'm gonna get him in his ribs. I was like, I'm gonna get Joey in his ribs.

[C]

I got that message from you. I was confused. No, because I'm going to get the thermals and 145th blue jeans and I'm like I said, I worship only love.

[B]

No, I get it. Let me make it make sense for your viewers, right?

[C]

Why don't you tell them when you first moved to Miami?

[B]

I am going to.

[C]

Oh, my God.

[B]

Let me make it make sense. And that is how far Joe goes back with me, right? Let me make it make sense to your viewers. So I, I filmed myself after I saw that clip and I was like, come on, Joe, we gonna help you out. I had two albums out, Joe, I'm gonna help you out. We gonna help you out. Right like that. Now, to the average person that doesn't know our history, that doesn't know our connection, and it's fair. I don't expect everybody to know, right? That's fair. But the one thing that I do not like about the viral explosion and social media platforms is that it has given way to a false sense of entitlement. So people get on and their thumbs become gangsterized. Preach, right? And they start to type. All this craziness right? Now, granted, you don't know how far this man and I go back. You don't know. This man is like a little brother to me. You don't know that. My ex road manager that passed away and created so much avenues for several artists in hip hop culture, period, right? Was my road manager. Put this young man on the map. So he's special to me. You don't know all of that, right? See your little gangster thumbs, get on Instagram and start to say all kinds of wild stuff. Get the thumbs right, Say all kinds of wild stuff to me, right? About how I'm speaking to Joey. You don't get to tell me how I speak to Joey, because that's my little brother. And if you have a little brother in your household that may have skipped something, missed something, in your opinion, and you want to get him in his ribs, you can do that. Joey and his family looked out for me and my family. When we first moved to Miami, I had no radio job. I left Philly, I was doing radio in Philly. I left Philly, I went to Miami with my kids. I left a bad relationship in Philly, picked up my kids, went to Miami with nothing but my kids and whatever we could have, right? No radio job, no shows, no nothing happening, right? Joey and Lorena picked me and my kids up, took us out to his house. You were in Plantation at the time. Took us out to his mansion, fed us, took care of us, Was like, what do you need? They put together a care package for us because we're newly in Miami, right? With nothing. Okay. There were ups, there were downs in this business. It was a down. It was a down, right?

[C]

Yeah.

[B]

Gave us a care package. Pots, pans, towels, necessities, Everything that you need in a brand new apartment. When you start? Now. Right. And that's when I first got to Miami. This is within the first week, Right. Looked out for us, you know what I'm saying? But again, I don't expect anybody to notice off the back. But the point to what I'm saying is relax on social media, okay? No, seriously. Yeah, relax, because the people notice.

[C]

You say, I'm gonna stop attacking the guys that do that. He said last time he told me, yo, I need you to stop, Joe. Stop attacking these guys. I'm like. He's like, yo, Joe, I need you to stop. So I'm stopping. I'm letting Moni Doe stop. Ah, yes, yes. Listen.

[B]

And then I wound up taking the post down because people were saying wild stuff towards me. And people were saying wild stuff towards you. And I was like, that wasn't my intent with my post.

[C]

Yeah. And what I Boney immediately was like, boney, we fucking love you. We worship you. You know I love you. Don't take this no wrong way. Sometimes I say some shit that gets misconstrued and I'm crazy. And people know that shit. It's the truth. I found sometimes he argued with me. He was like, yo, Modi, I'm like, yo, look, I can't even with this guy right here. But what I'm saying is the way, you know, your career was laid out, right? It's that energy, right? It's the energy. And now it's actually the same thing. Like, so. So say French Montana, right? French Montana. I got his demo, Wade on nobody. They had beef with the Powers that Beat. And nobody was playing they shit and they was bubbling in the street. I took his shit and was like, yo, he from the Bronx. You know, you playing this. I don't want to say it like that, but you know, I had to do that. Soon as they played it six months later, he was a superstar and had popped that. But the energy was. He was already bubbling in the streets. Give him the song. That's that. What's that? Joint shorty got potential. See that? And then six months later, he had a song with Drake and Rick Ross. And he's a superstar, but it's an energy. So Fat Joe got Flo Jo, and then LL Cool J puts me on. I shot you. So you hear it coming. This happens with every artist, it's an energy. And I've always felt like your energy for being on Buddy and Ladies first and all that. Maybe if now you'd have been even bigger than you were. That's what I was trying to allude to. You know, that's what I was trying to get out. Like, saying, like, you know, Moni love to me. Of course we know you legendary. Of course we know you got classic albums. Of course we know. But, you know, he clarified that.

[D]

You see, all you gotta do is give him some time. He clap.

[B]

How long did it. How long was it?

[D]

Six months.

[B]

I know it wasn't four months. Yeah.

[C]

You know, first thing he did, he walked in.

[D]

Yeah.

[C]

You know, you gotta apologize. I was like, apologize.

[D]

For the viewers. This is all stuff we know. They don't.

[B]

They don't know. Yeah.

[D]

And the things off comments like she.

[C]

Just said, you know what? You know, there's a resurgence in originators. Like, this year, we had daylight. We had gone. Nas, drop a joint.

[B]

Yeah. You're absolutely right.

[C]

You have a problem. And for Law Kwame.

[B]

Yeah. Different kids. He got a joint now.

[C]

I used to love Kwame Men and somebody. I wanted to say earlier, but I didn't want to cut you off, because, you know, that's my new rules around here. They don't let me cut. Yeah, that's a new one.

[B]

Okay. Right.

[C]

Even though I try to tell them the DNA is all right. It's working. Shout out to Chubb Rock. He's somebody I studied. He's somebody I studied. Like you said, you used to play we are with.

[D]

Evergreen Episode.

[C]

Evergreen Episode.

[D]

Chubb was the first person that was gonna sign the lot.

[B]

That's crazy.

[D]

Yeah.

[C]

Chubb Rock.

[D]

Yeah. We was supposed to. We was gonna sign with Chubb. Chubb was our first. He's Chubb's first.

[C]

I remember making my first album.

[B]

Wait a. Wait a minute. You can't just say that and then be like, no, you got to tell us.

[D]

I gotta bring Lucha up here.

[B]

That's insane.

[D]

I don't really remember everything and. Yeah, but Chub, you gotta bring Chubb up here then.

[B]

Yeah. Okay. Okay. Dave, make that happen.

[C]

You know, he represents all of us.

[B]

Yeah. Yes.

[C]

You know, they gave me the key to the city, and it was a big day for me, like. Right.

[D]

They gave me the key to the city. This wasn't my city.

[B]

What?

[D]

They gave me mad keys. None of them is in my city. They gave me Jersey City, East Orange. Mad. They gave dmx. Yeah. They gave it that.

[B]

Hey.

[C]

Or some Fight.

[D]

We got days. All of that they didn't give. I think they might have gave it p. M. I got a key my day, yo Never gave me.

[C]

That's crazy.

[D]

How they gave me Jersey City, new building.

[B]

Oh, my God.

[C]

Stated the art. Crazy out of this world.

[D]

Can't fit your sneakers in there.

[C]

You checked it out.

[D]

You sneak outside.

[C]

It's like that building you lived in in Jersey, that the fucking apartment was this little. But it was the fly's building. Oh, my gosh. You never let me say my story.

[B]

I'm sorry.

[C]

So while I got the key to the city, the whole Bronx is out there crazy in Orchard Beach. I turned around and Chubb Rock is just happens to be standing on stage. I stopped the whole. And I told them how much he influenced me in front of everybody. You know, the Bronx was out there. So I was like your child. Because a lot of time, as men, right? In this type of business, we don't really sit people down and tell them how much they influenced us or how much. You know, we'll say, what's up? We'll be cordial, but we don't grab them and be like, yo, look. When I did that represent album, my first album, I was listening to Chubb Rock, Chubb Rock's tape. I kept playing that every day before I wrote the next song. I just. His flows is now D90. Chubb Rock Johnson, Waterloo and a Bucketball of Marine. So say his is RoboCop. Well, the biggest line on that was, Remember Yusuf Hawkins?

[B]

Yeah. We were just talking about him today, too.

[C]

I seen Sean Bell's wife. She has a movie.

[B]

There's a movie out. Absolutely. Shout out to Manny. Yep, Shout out to Manny.

[C]

So I just seen him at Chester, the movie. According to Cole Bell. Yeah. Experience. If y' all don't know who Sean kid got killed a day before his wedding in New York City. Back in the day. So his wife put out a movie. But you know what's crazy is the action. Cause, you know, now I'm mature. Whatever, whatever. But back in the days, I was the most harassed person from the police in the universe. And I caught ass whippings. Like, I don't understand killing yourself or being. I got bullied more than anybody in the world. Like, I got beat up by the cops more than you could ever think in your life. So they invite me one day to a. What was it? A Black Lives Matter police summit. And I come up in there and, you know, in great tradition, if you think in New Music Seminar, what would Chuck D Say? What you know, I was in the crowd watching all this. So when they put me on the panel and it was like, yeah, you know, this, this, that. And they think I'm Fat Joe the rapper. And I said, remember Yusuf Hawkins, when you walking?

[B]

Oh, wow.

[C]

That was the first line I said. And they knew. Oh, he came on bullshit. Like, they knew. The police knew. Oh, he came on bullshit. I'm telling the man. Luema Sean Bell, he's the wrong guy to bring up Baez. They were like, oh, no, he know too much. Like, let's get him off the stage. But, you know, a line like that. The consciousness in music, KRS did that for me, too. I remember hopping the train, we talking about the Walkman, and I'm thinking, it's just gonna be a gangster album. I'll put in Criminal Minder. He's like, airplanes flying overseas, people dying, politicians lying. I'm trying. And I'm sitting there like, yo, what the fuck does he talk? But it opened us up to consciousness.

[B]

Yo, krs1 used to shut his show down and start straight up talking like Malcolm X to somebody. Seriously. Does anybody remember Car Wash? No, the club Car Wash. Oh, no.

[C]

I don't know that part.

[B]

Okay, again, I'm showing my age, which I have no problem doing, right? Chris used to shut the showdown halfway through and start talking and dropping all that knowledge.

[C]

Not inside people, captive.

[B]

Oh, nobody left. Nobody left.

[C]

Nobody left. And then he got. Oh, you know who else did that? Nas. Nas. With that. Egypt had the Kings and they cut off their nose. I know I can. Yo, he was dropping jewels on that. Yeah, yeah, you know, and that's. We missing that. You missing that in hip hop today, people dropping them type of jewels where the next generation could feel proud and know where they came from. Because we don't know where we came from. I was in the car with Rich the barber, and I was like, yo, you know they chopped off the noses in the statues in Egypt because they had black noses.

[D]

Nigga noses go there, tell us.

[C]

But they chopped their nose off. European or something, so. But this was deep. You know what I'm saying? This. This was deep.

[D]

And I have a finding nose.

[C]

Iron. She wants something for the nose. You know, that's.

[D]

Somebody found their nose.

[C]

It's the first story that the people said, I didn't cap. I never knew Iron. She got arrested.

[B]

Did somebody just say, nobody knows, nobody know?

[C]

No, I told the story last time. Iron Sheik. We bumped into Iron Chic the wrestler, and he was from Iran. So he comes by, I'm with some Mexican dudes. They drinking liquor. He asked for some liquor, perhaps some liquor. They gave him liquor. They show him smoking weed. 30 minutes later he come by, perhaps some weed. He came back, 30 minutes later. He said, perhaps something for the nose. I'm like, yeah. I'm like, yo, don't give the Irish something for the nose. That thing was so viral. I watched all the comments, was like, first of all, I didn't know he had a nickname. His nickname is Shiki Baby. So in the comments, everybody who knew him off wrestling was saying, yo, that's Shiki Baby. He used to get. He'd get arrested every week for cocaine, yo. He used to this and that. Like, they were like, Joe did not.

[B]

Cap yo on this. That's crazy.

[C]

Joe and Jada, baby. Let's go. Legendary. This ain't that.

[D]

That ain't this.

[C]

It's cracking.

[D]

Kiss, make some noise for Moni Love.

[B]

Get that new album, love notes ep.

[D]

Love notes ep.