My introduction to the Hip-Hop music industry; however was through the great Harry Belafonte who gave me a job as a dancer in the early Hip-Hop movie, Beat Street (1984). In the mid-Eighties, I competed against The Fat Boys for a record contract in Tin Pan Apple’s talent show at the renowned Fever skate club in the Bronx. I became a part of YO YO's (Ice Cube’s protege when he was still with "Lynch
Mob".) clique, (before the East Coast/West Coast rivalry) the Intelligent Black Women's Coalition and I became President. By the mid-Nineties, I had my first act, Main Source, a rap group from Canada who made the chart-topping ballad rap, Looking at the Front Door. I have worked with such big names as BMG Records, Atlantic Records, Jive Records, Nervous Records, East/West Records, Tommy Boy Records EMI and Universal Records. I worked with such Hip-Hop luminaries as famed Hip-Hop lawyer Bob Celestin, entrepreneur P. Diddy, Film Director George Tan, Planet Studios, Hip-Hop pioneer Sal Abbatiello, Hip-Hop Impresario Russell Simmons, rapper/actor Flavor Flav, Tupac Shakur, Universal President Sylvia Rhone and others. As CEO of Great Scott Management, I represented dancehall artist, Mad Lion and rapper, KRS-1. In 1997, I collaborated with film director George Tan to bring Tupac Shakur’s story to the screen via the documentary, “Thug Immortal”. My impetus to delve into the secret societies that run the entertainment business was piqued by Tupac’s last album, The Don Killuminati: The 7 Day Theory. After years of helping to facilitate the Illuminati agenda, I woke up one day and decided I’d rather be a poor, alive woman than a rich dead one. In 2010, I received Divine instruction to write Hip-Hop Illuminati: How and Why the Illuminati Took Over Hip Hop. It’s been several years since I left the game. I am now able to devote my time to things I really enjoy like praising God, writing, painting, dancing, playing percussion instruments, beating others at chess, and feeding my Rottweilers.
