CLASSROOM STORIES: Women and Hip-Hop History by Toni Magras

In this episode, in honor of Black History Month, we present one of the episodes produced in this winter's course on the Politics and Poetics of Hip-Hop offered by historian and Professor Katherine Jewell. 

The assignment said: 

"This assignment is your chance to advance your own interpretation of the evolution or application of the knowledge and insight developed this term. In a one-hour radio show, for which you will produce a script and a playlist and record for dissemination on WXPL, build a thematic engagement with an aspect of the course. Your playlist can take any theme you would like, but it should make specific reference to readings and ideas encountered this term, cited in the transcript. Take your listener on a musical journey through an aspect of hip-hop informed by its past."

Toni Magras (COMM '25) offered an engaging thematic interrogation of women in hip hop, including an interview with her daughter, Ashleigh (Lady Repo), who is also a musician and MC. Presented as a radio show for Fitchburg State's radio station, WXPL, the show combines musical reflection with an analysis of how women MCs advanced the art and expression of hip hop.

The Power Show was written and produced entirely by Toni Magras of Hull Bay Productions.

Show Credits:

In the show, she features extracts from:

• PUSH-IT Salt-n-Pepa, Released in 1987, Producer: Hurby “Luv Bug” Azor
• "Ladies First," Queen Latifah featuring Monie Love, Released in 1989
• "Dance For Me," Queen Latifah, Released in 1989
• "You Can’t Play With My Yo Yo" Yo-Yo, Released in 1991; Written by Yo-Yo, Ice Cube, James Brown, Charles Sherrell
• "Make A Livin’" MC Lyte, Released in 2024
• "I Wanna Be Down" Brandy featuring MC Lyte, Yo-Yo, Queen Latifah, Released in 1994
• "Doo Wop (That Thing)" Lauren Hill, Released in 1998; Written and Produced by Lauren Hill
• "Not Tonight (Ladies Night Remix)" Featuring Lil’ Kim, Missy Elliot, Da Brat, Lisa “Left Eye” Lopes, and Angela Martinez, Released 1997
• "Moment 4 Life" Nicki Minaj, Released 2010
• "They Know" Drama Queen, Released in 2012
• "I'm a Boss" Drama Queen featuring Lady Repo, Released in 2012

Episode Transcript here.
 
***

About the Classroom Stories series:

Students come to Fitchburg State University for academic enrichment and the innovative pedagogy offered in its classrooms. Classroom Stories feature the work of students and learning communities and the exciting explorations in the content of the many disciplines available for study at the university.

Click here to learn more about Perseverantia. Join us for programming updates on Instagram. Or reach out with ideas or suggestions at podcasts@fitchburgstate.edu.

Transcript

[ Drama Queen & Lady Repo’s “I’m A Boss” plays until it fades during  ]

 Prof. Kate Jewell (intro): In this episode of Classroom Stories, we feature work by a student in my Winter 2025 class on the politics and poetics of hip hop. To celebrate Black History Month, we present this collaboration with Fitchburg State's radio station, WXPL 91. 3 FM. Toni Magras presents an critical engagement with the history and artistry of women in hip hop, going all the way back to Roxanne Shante, Salt N Pepa, and going right up to featuring voices from our contemporary moment of hip hop, including a conversation with a very special guest.

I'm Katherine Rae Jewell, one of the co producers of Perseverancia, and thank you for listening.

[ hip hop backing beat plays under the host ]

Toni Magras (host): When Salt N Pepa invited the world to push it in 1987, for me, the rap game changed. No longer were women the video vixens dancing behind the men in the music videos. The men danced behind them. And, as it were, The power of what women had to offer became not only a needed addition to the hip hop world, the genre couldn't, wouldn't exist without them.

 You're listening to The Power Show on WXPL 91. 3.

 [ Exciteable WXPL Bumper plays ]

 Toni Magras: Welcome to the Power Show. I'm your host, Tonia Magras. Today I'm taking you on a lyrical journey through the power of the women who rock the mic in hip hop. In 1987, I was 18 years old. I was a beat girl, tried to spit some bars. But never felt that someone who looked like me would be taken seriously in the hip hop game.

 I mean, no one could ever forget Roxanne's Revenge by Roxanne Shantae, Roxanne, Roxanne. And when that hit, girls like me were left wanting more. It was the first rap battle I ever heard from a female, and all of us, my friends, family were like, yes! That's it. And then silence. But when Push It hit the airwaves in 1987, my teenage body couldn't contain itself.

 I'm poppin and lockin all over my mother's living room, thinking my hips were made for this song. Originally turned down by mega producer Russell Simmons at Def Jam, Salt N Pepa pushed through all of the rejection, and will forever go down in hip hop's history as the women who Who changed the hip hop game?

 I dare you to get that song out of your head. You're listening to WXPL's The Power Show. I'm your host. Tonia Magras. The ladies had arrived and it was two particular ladies who declared it 

Toni Magras (host): in their chart topping record, Ladies First. Latifah was majestic. There's a majestic ness about Latifah and there always has been.

 She always gave us like mother of civilization vibe. Latifa and I struck a friendship immediately. And she was like, you know what, we should do a song together. We started talking about this concept. We knew we wanted to write a song that celebrated women as historical figures, as emcees on the mic, as your everyday mothers raising their children.

 We knew we wanted to write a song that celebrated women, but we didn't realize that we were actually writing a female anthem. Queen Latifa and Moni Love not only showcased the strongest representation of female Feminine dominance, but also paid homage to their African roots while boasting a woman can bear you, break you and take you expressing love and admiration for the Queens of our African heritage.

 "The ladies will kick it, the rhyme, it is wicked. Those that don't know how to be pros get evicted. A woman can bear you, break you, take you. Now it's time to rhyme. Can you relate to? Our sisters open up to make you holler and scream. Yo, let me take it from here, Queens. Excuse me, but I think I'm about due." 

To get into precisely what I About to do on conversation to the folks who have no what? Weather clue. So listen, very careful as I break it down for you. Me, me, me. Mely, happy joy. Please. Will the beat and rock my sisters have employed. Throwing down the sound. Totally. Yes. Put me safe to position. Ladies curse.

 Yes. Yes. Queen Latifah, the first female solo rapper with a major record deal later wrote an autobiographical book title. Ladies first about being one of the. First and struggling with issues of sex, drugs, and trust. I mean, ladies first. There's no time to rehearse. I'm divine and my mind expands throughout the universe.

 And the rest, as you know, is history.

 You're listening to The Power Show on WXPL. I'm your host, Tonia Magras. As gangster rap started to make a mark on the hip hop scene in the late 80s and early 90s, a young woman out of Compton was determined to let her voice be heard. She advocated for female empowerment, creating the crew Intelligent Black Women's Coalition, and helped elevate the genre as we know as West Coast Hip Hop.

What's her name? My name is Joe. Yo. I'm not a one more. I like to vote so swift. It's gotta be a gift. So yo, let the people lift as I rip in rhyme a rapper, slap all the girls who can't adapt

to the fact I hit the eight ball. Often the earrings I wear are check the foodie, kind of soft fan. If you touch it.

Toni Magras (host):  11 in a coffee. I'm in the nineties, in the eighties, right? I rock thing. I'm not ladylike, but I'm aLana Michelle Moore became the first female rapper to release a full solo album in 1988. Mc Lights Lies a Rock. Peaked at number 50 on the billboard charts. Followed by the Village Voice Magazine rating Light as the best female vocalist in hip hop. At 54 years young, Light is still crushing the game.

Last year she released her hit, Make a Living, proving that despite what entertainment tries to do to weed out older women, we Me too. Aren't going away. Here we go. Now grown and sexy. This a new bob. Do you want it coming with that Tupac? I bowling remote to that tu Gimme a read. How I come from a ose spot. Pk. They all wanna play oak trees, brownstones, where they wanna stay. No logic, no time. No time, no deposit, no. I handle issues like a convo. Get that problem there on a permanent time. MC Lyte, Yo Yo, and Queen Latifah. 

The foundation of female rap reflected the pride of blackness, the strength of their gender, and musical styles that became what we listen to today.

 Now before I turn the page to the current hip hop game, the song I Wanna Be Down featuring all three ladies and singer Brandy was another example of the power of women. Rarely did you see battles between them. They were about uplifting and signaling a position of dominance that could be shared by all who would then follow.

It was a great time for female MCs and made an extraordinary impact on my life.

"The moon, but you got to put me down. I'll be your cornmeal motel. You can get it when you want it. Even though you got chicks all up on it. Don't matter, cause brother, you fly. I can't lie. I've been macking daddy from the corner of my eye. About gay short. About gay tall. About so big. About so small. About this length.

"About this width. About this size. About this. "\

You're listening to The Power Show on WXPL. I'm your host, Tonia Magras. The nineties brought in a new generation of female MCs that covered the genre of party dance and continue the dynamic empowerment of black women. One of those women burst on the scene with doop, that thing which featured the beauty of women from the past and the women of her era.

Lauryn Hill's debut solo album, the Miseducation of Lauryn Hill. Showcased not only her rapa abilities, but her vocal styling, which hinged on jazz and blues influences three weeks since.

"You up so easy. You ain't even fooling him.

The who? Repercussions. "

Toni Magras (host): We can't talk about the emergence of powerful women in the nineties in two thousands without the names like Lil Kim, Missy Elliot de Brat. And Lisa left I Lopez. Here we saw the emergence of sex and rap. Blow the industry wide open the new school era of rap with the likes of Latifa and Mcli gave way to this new era where sex in power, rain, yeah.

 Over cooling the gangs. 1979 hit ladies night. These four MCs led by Lil Kim told us who they were.

 "It's ladies night, what? It must be Angie on the mic The butter pea, honey, got the sugar, got the spice Roll the L's tight, keep the rhymes right Yo, I just made this motherf up last night And, uh, I'm the rookie on this all star team Me and Kim is getting cream Like Thelma and Louise, but on chrome Never leave that Brooklyn s alone So if you say it's on, then it's on Bang this in your whips, have some coda roti with the chips in the wrist, here's a french kiss, I dismiss all you chicks, bit six from the fourth fifth, make it dance, ow!"

 You're on The Power Show with your host, Toni Magras.

 Nicki Minaj blew onto the scene in the early 2000s and quickly became regarded as the queen of rap. Her musical flow and syncopation of beats and rhymes made her dominance clear and is still considered the greatest of her generation. She not only raps, but sings, writes, and produces much of her own material.

 In 2023, Billboard and Vibe magazines rated her the greatest rapper of all time, noting her varying cadence, speed, and accents we haven't heard in a female MC. Here's Nicki Minaj's "Moment for Life."

"I fly with the stars in the skies. I am no longer trying to survive. I believe that life is a prize, but to live doesn't mean you're alive.

 "Don't worry about me and who I fire. I get where that desire is my empire. And yes, I call a shots. I am the um, I sprinkle holy water upon the vampire.

 As The Power Show comes to a close, there's one rapper who is near and dear to my heart. You may not have heard her on the top billboard charts, but she's the top of my list.

 I know her story and when it comes to power, she has it. In 2012, my daughter Ashleigh released her single, "They Know," under the rap name, Drama Queen. Recently, I sat down with her to talk about what made her fall in love with hip hop and who she considers to be the goat of female MCs.

So Ashleigh, we know that there was a time in your life when you were an aspiring hip hop artist.

Toni Magras (host): But before we get to that, cause I'm going to feature one of your songs in this show, talk about what your first influence of hip hop was. What made you say, okay, this is something that I think I want to do.

 Ashleigh: Hip hop has always been a part of my life. My parents introduced me and it was, it was always a feeling, like a feel good feeling, you know, whether it was like on my way to school in the morning with my mom or, you know, cleaning the house and bumping whatever jam was going on.

It just, it always gave me, it gave me a good feeling.

 I think eventually, um, When wandering into rap, I were thinking about rapping it was a way for me to just get the thoughts in my head out on paper and for it to feel good. Instead of just like journaling or you know writing it down it just felt so good to put it to a beat.

 Toni Magras: Who was some of your earlier Your earliest influences in the rap game, female wise.

Ashleigh: I would have to say Eve, Foxy Brown was my top two. I feel like, can I, can I just answer how, how I answer? I feel like, you know, you want to say Queen Latifah and MC Lyte, but I'm really, that's not my era. So like where, how I appreciate them.

 I think I would have to say like Eve and Foxy Brown, Nicki Minaj. Yeah.

 Toni Magras: So when you were rapping and singing, like, what gave you the inspiration to write the songs that you did? Like, how did you get From pen to paper to recording. Talk about that process a little bit.

 Ashleigh: Honestly, I think I was at a friend's house and they have like an at home studio and there were a couple other like local artists there rapping.

 And I was interested, um, And they were like, hey, why don't you get on the mic? And I was like, really? Um, so, so I did. And the rest is kind of history. Everybody loved it. I think I just heard the beat and like wrote something real quick. And honestly, the rest is history. One of my favorite songs of yours, and you know, this is they know, and one of my favorite lines in that is you can never walk in my shoes, their custom fit.

Ashleigh: And the song really talks about how you had taken your power back, you know, from what people thought of you or what people were. Talking about to how you felt about yourself and what you wanted to do.

 "I'm here now. Yeah. All knows my life changing now. I'm around the same. Been around for while.

 "Yeah I did them bank scams, yeah I did them hand in hands, yeah I did a bit, but that's only part of who I am. Seldom do I talk too much, few are who I call my friends. I don't like that funny ***, bet I like to use my hands, but I be on that money ***. Focus on some bigger plans, success is in my future, so you can play that other hand. 

"You can go to Foxwoods, you can blow like 50 grand. I'ma stack it up and turn it into some investment. Get my education on, smoked all my deficits, [00:15:00] salute to my The sky is the limit, maybe I'm just high, or might just be the pips, but I'm on another level. And that's just something they know. They know, they know, they know.

 "They know, they know, they know. They know, they know, they know. Yeah, they know, yeah. That the real is on the rise. *** them other guys, I even gave them a chance to decide, now that's something they know. They know, they know, they know, yeah. You know you're doing something right when everybody watching.

 "Thanks to all my fans, them haters keep it popping. I be the trending topic, sure the y'all might win regardless. I be everywhere, you're never there, so stop the blogging. I know, I heard it all before. Ashley, she is such a whore. Her ex used to be the rep. Her day is to go to war. Heard that she's a setup girl.

 "She can't come around here no more. She ain't even know that cute wonder why they sweat her for enough. All the nonsense. I'm over it. You can never walk in my shoes. They custom fit. They don't make them like me. I'm a chick now. I'm let Drake come finish it.

 Toni Magras: Talk a little bit about the inspiration for that song, 'cause that's really one of my favorite.

 Ashleigh:  Really, that's what it was. It was talking about taking my, my power back and, and, and growing into the next season of my life. Um, you know, just talking about past stuff and how people were, you know, viewing that and, you know, me talking about, you know, debunking stuff or just like, you know, I'm not in that season anymore.

This is who I am here. Take it.

Toni Magras:  Who right now is at the top of the game in terms of female rappers.

 Ashleigh: It's a beautiful time for female rap. I feel like I was ahead of my time with it because right now there's just like so many artists. Cardi B, Latto, City Girls, Dolce. Scratch everyone I said and Dochi is like, is like, it. Um, she's refreshing. Okay, so, I say that because there are so many females right now, but because of the industry, they, they really, you know, sex sells and they're really pushing that.

 And, uh, Dolce is refreshing because she's doing her own thing and she's really bringing true hip hop back. I appreciate those other artists, but she is like next for like really bringing real hip hop back in her own way, in a modernized way.

 Toni Magras: You talk about the sexualization of female rappers, and we have really seen that, particularly in later rap.

 Um, you know, Salt N Pepa did their thing, and they were cute, and they were sexy and everything, but really this new genre of female rappers. Um, are really just pushing it to the limit. Um, but then there's someone like Remy Ma and who is her, her rhymes, her, her songs are just so incredibly tough and brilliant, but then she's just like unbelievably beautiful, you know?

 Toni Magras: And so she's, she's kind of. Carrying both of those, um, things with her in her, in her songs. Um, do you see, do you see rap going back to the stage where females are not going to be over sexualized? Or do you think this is something that they want? Like they know that this is what, as you said, sex sells.

 This is what they want to do.

 Ashleigh:  I feel like the industry, it's really the industry. And, and that they're in, and what is going to show, because they'll be at the day, that's what it's about. Um, I also feel like, you know, for women, for some women, you know, sexuality is a way of feeling confident. And so, I think that, um, some women may get a rise out of feeling confident.

 You know, talking about it confidently and feeling confident in that. I don't think that's going to change industry wise. Um, I hope we get some more. Oh, Lauren, hell, come on, man. Um, sorry. Yeah, I hope we get some more, Lauren. And I feel like Dolce's kind of filling that spot right now. I can't think of anyone else who is.

 Ashleigh: There probably are, there's this dope artist that was on Beyonce's, um, actually like her Lion King album. But yeah, there are like trickled in artists who kind of break those barriers, but it's not going to be the majority.

 Toni Magras: Alright, last question and probably your toughest question, who's the GOAT in female rapping?

Ashleigh: I think I would have to say Lauren.

Toni Magras: Really?

 Ashleigh: Mm-hmm .

Toni Magras:  I see. I think Lauryn Hill was ahead of her time as well. And I think, I mean, I love Lauryn Hill. I love everything about her. Um, but I think she came on the scene at a time when like that conscious rap was starting to fade away a little bit. But she was, she was still in it, right?

 But I think that the genre was shifting. I have to do all hail to the queen. I think Queen Latifah has to go down as the GOAT. She just, her, her voice, her, her rhythm, her style, everything was, I, I, Just have never heard anyone like her since so.

Ashleigh:  That's your that's your generation though. Like I don't i've heard like a couple of Queen Latifah songs.

 I've never ever played a Queen Latifah album. I'll be honest But I know she's super talented and I know like but I just never I wasn't into her, even like when you mentioned Remy Ma, I, Remy's cool, but sis cannot catch the beat. Like, I, she, she does not ride the beat. I need the mel I need all of that to flow.

Yeah, I'ma have to, for me, I'ma have to give it to Lauren, cause Lauren can, can do anything.

Toni Magras: Okay, Ashleigh, thank you so much. Um, I appreciate you. And as I. A special finale to my radio program. I am ending with Ashleigh who went by Drama Queen and Lady Repost. I'm a boss because I think that that perfectly ends this homage to women in power, women who wanted to affect change, women who demanded attention and what other better way to end withDrama Queen and Lady Repost

Drama Queen & Lady Repost (song “I’m A Boss”):

"I'm a boss. Okay, bitch, I'm a boss. I'm living like this number. Get, if you ain't.

I don't see nobody know the street flow talkin well, I just call my money while your girl steady stompin I guess I'm doin my job cause everybody watchin Middle finger to the world cause can't nobody stop it Wrists real icy, uh, hands yeah they blingin uh, Head done, nails done, ladies is you with me They say, ah, she's so pretty, why you rappin like that?

"I don't know, I hit a beat and just attack it like that I go hard, I'm on my diet, they catchin up, I'm takin off Get familiar, we winnin at all cup You hate that love and I'm on top Bitch, I'm a boss, I'm a boss Bitch, I'm a boss, I'm a boss I play the shots, I cover costs We in this bitch, it's goin down Yeah, and Bitch, bitch, bitch, bitch, bitch, bitch.

 "I be laughing at his old bro. She mad him his new chick better get that money, honey. He ain't giving. Tell me where your pride at, why these bitches useless It's Drama Queen and Lady Rebel, stop if I reduce this I'm as live as it get, what now? You disrespect me, guarantee you could get brussed down They call me big body, I got them extra pounds And if you in the club thirsty for more See, I got extra rounds, don't get me wrong, I don't need no props, I go hard in the paint for everything I cop, whole team ain't here, they in the bing and got shot, I'm alive and free, somebody must've craved for me, I'm a G, you a boss, there be haters in your way, I don't mean hearing nears, it's all day, everyday, and they all be acting, what you see ain't what they say, guess nobody never taught them not to These bitches lost, but we're not.

They got they hands out. We stir in the pots. The cold world. We make it hot Free. C3 Boss.

Toni Magras: I'm your host, Tonia Magras, and thank you for tuning in to the Power Show.

 It's a battle!

 [ Drama Queen & Lady Repo’s “I’m A Boss” plays until it fades out  ]

[ Perseverantia Network Theme fades in ]

 Oliver Eason: This is Oliver Eason, a senior at Fitchburg State University, and you’re listening to Perseverantia, the Fitchburg State Podcast Network.

[ Perseverantia Network Theme fades out ]