HEADS KNOW TAPE 022: METALFLOWERZ (Walasia Shabazz)
An interview and DJ mix from the mutimonikered music exec, journalist, and producer.
Photo: Astraea
HEADS KNOW TAPES is our mix and interview series, curated to introduce you to the most exciting innovators, selectors, and artists from New York City and beyond. Get it straight to your inbox by subscribing on Substack.
Walasia Noor Shabazz shouldn't need an introduction, but it seems that only heads know (I said the thing) the California native is behind the vocals of Madvillain's "Fancy Clown", credited as Allah's Reflection. The real crate diggers will know that she's actually the duo's core dot connector, too.
From a prematurely blackballed nepo baby to the founding editor of Complex to MF DOOM's manager—Shabazz's story is as winding as it is captivating. But despite being a longtime go-to hip-hop historian, she rarely gets to tell her side of history.
In this tape, we're going straight to the source. For our 22nd edition—which is coincidentally our guest's lucky number—Walasia gives insight into how she built an arsenal of music industry howitzers that nuked any non-believers, the complicated undertaking of sustaining DOOM's legacy, and her long-awaited ordination as a solo artist with the release of her debut self-titled full-length, METALFLOWERZ. Plus, she gifts HEADS KNOW with "JAZZYBELLES VOL. 1," which includes an hour of classics from every genre that manifest the spirit of hip-hop.
You've gone through many monikers: Miranda Jane, Allah's Reflection, Walasia Shabazz, METALFLOWERZ. As someone who's lived many lives, how do these different aliases help compartmentalize who you are, what you do, and when?
I was born the daughter of legendary avant-garde free jazz bassist Buell Neidlinger. Life was crazy as a jazz baby, and I quickly saw how the music industry was going to shape my life, my finances, and my ability to navigate spaces where I’d never fit in because I was “born famous.”
In the early '90s, my pops went on a tirade against rap & hip-hop music in the meetings with NARAS (National Academy of Recording Arts & Sciences) and the GRAMMY Awards categories—telling Neil Portnow and other board members that rap & hip-hop weren’t “real music” and campaigning for them to be shut down. This amazed me because my father knew that hip-hop emcees like Big Daddy Kane, Rakim, Lakim Shabazz, KRS-One, Chuck D of Public Enemy, Stetsasonic, and many others were teaching my baby brother and I because we had no male presence in the home - Buell was always out on the road, in the studio, spending time with groupies and acolytes, not with his wife and/or his children! I later had an important job interview at Jive [Records, a subsidiary of the Zomba Group], in the publishing division, which was what I really wanted to specialize in for my music career. I nailed that interview but Neil kept looking at the top of my CV, then at me, over and over… So I said, “Yes, he is my 'father' in name and genes only—he’s never been a dad, and he’s ignorant about rap & hip-hop and I DO NOT share in any of his views on the genres or the awards vis a vis NARAS,” but the damage was done. A job that could’ve made me a solidified exec at a very young age. After that day, I dropped my father’s last name permanently. I never had any of the “nepotism” the name should’ve brought to my name anyway, so I just built Miranda Jane into a huge brand.
The “MF” in METALFLOWERZ was given to me by MFs GRIMM and DOOM. In Oakland, there was a huge sculpture of a 20-foot steel/iron flower and the imagery hit me. [It resonated with] having to always be sharp like metal and soft like a flower petal, pretty AND dangerous, a submissive femme-being AND a fierce boardroom negotiator, all at once. I AM ALWAYS ME. I never switch, but I am swift and changeable. My monikers are malleable and I try to be like water, my friend.
I can see why your story may have been fractionalized because of these various identities. In what ways has that contributed to the lack of awareness, and ultimately recognition, around your impact on hip-hop?
I’ve been in the high level music industry since my teens. Execs from previous eras knew my father and his work. I made a huge name for myself in Los Angeles doing street teams, marketing, promotions, and the like, then I moved to New York and made an even larger name for myself in the publishing and print media business, being one of the founding editors of Complex Magazine and one of the key players who built it from nothing into a multimedia conglomerate that made millions. I know my worth. I know my gender in no way impacts my ability to make money [or] to operate at the highest level of any business venture I am involved in or have created.
The flipside of that is I never stay where I am not valued or where I am disrespected. A new editor at Complex—a white man whom I won’t name—called me a mongrel out loud in front of the editorial staff, and I knew: “That’s my cue, it’s time to get the fuck out of here!” My agenda in hip-hop, rap, urban music [as well as] publishing, the industry, and in the streets has always been hidden. I’ve often been hidden.
MFs GRIMM and DOOM asked me what name [I would use] when I appeared on Grimm’s LP The Downfall of Ibliys and I was affiliated with a crew called the S.O.L.A.R. Panel (Sons/Suns of Light, Allah’s Reflection) and had worked for SOL music works, a business arm of the early crew. I knew to manifest the “Allah’s Reflection” part of the S.O.L.A.R. was paramount, so I did.
No matter what you call me or how you address me, MOST of the mainstream music and publishing industries know me personally and know my resume very intimately. They CHOOSE to pretend I do not exist when it behooves them, but if anyone NEEDS my unique polish/finesse, they always seem to be able to find me, ask to hire me, and offer to pay about 20% of what my work is worth… Funny how that goes, no?
You started off as a hip-hop journalist, writing and editing publications like 4080, Stress, The Source, and Mass Appeal, before taking on a founding editor role at Complex. Your work led the way for writers like me. Were there any women in media you were able to seek guidance from, or even just look up to, early on in your career?
Absolutely, and thank you for this thoughtful question. At The Source Magazine, my editor-in-chief was Kim Osorio (who I felt was a few generations after me and not really suited to being editor-in-chief to my associate editor), but I did respect her as a "Lady Boss" and the first woman EIC of The Source. The managing editor was Adila Francis—a woman with a very tough job. I also worked with Tracii McGregor and Anne Marie Nichols at The Source, two Black women I deeply respected. Mimi Valdes, Danyel Smith, dream hampton—dream being my main idol, the highest title, numero uno—Taura/T-Love, Sheena Lester, Aliya S. King, and a handful of other writers and editors who were the women I looked up to and they left the door cracked for me to come in!
In the music business itself, I modeled myself after Wendy Day, Violet Brown, Sylvias Robinson AND Rhone, Nikki D, Monalisa Murray (my peer in age but light-years ahead of me in experience/resume), Monica Lynch, Faith Newman, Big Foxx from M.O.P., Carmelita Sanchez, Drew Dixon, Sista Dee Barnes, and a handful of others.
As soon as I was given any access as an editor, any power to hire or contract freelancers or hire employees, I immediately ran through stacks of resumes and CVs and carefully combed through hundreds of freelance submissions and pitches. I watched my favorite magazines for names of women/femmes who were doing work I admired—even in the photography, art, or fashion departments, publishing, or really anywhere in media—I'd always identified with women doing stellar work and I wanted there to be more of us. I was extremely careful to always hire and install Black women, Latinx sisters, and other “women of color” because the odds were stacked against us all. Oftentimes, my complexion deceived editors, publishers, investors, human resources departments and the like. Hire me and you’re not ever going to get some entitled trustafarian whiteboi posse who collectively doesn’t know the first thing about rap, hip-hop, or any aspect of Black music and/or culture, and truly aren’t fit to make a living writing about music at all because their writing is like them: soulless, empty and basic at the core. I wanted a maelstrom of women/femme talent in my industry, all ages, any background—those with the skills and passion to write the best pieces, do the most thorough research and never make a mistake. No typos, no grammatical errors, no shorts… Only the women in media had that true attention to detail, so I wanted my staffs, my mastheads, and my freelance roster chock-full of these dynamic writers, editors, journalists, photographers, and visual artists.
“I'd always identified with women doing stellar work and I wanted there to be more of us.”
Speaking of women being the best at what they do, elusive artists like MF DOOM and Madlib seemed to take a liking to you, despite being typically averse to press. What's your secret to breaking down an artist's walls?
I had to learn at a very tiny age how to manipulate my father and make him feel like he was the most important person in the world, and that his talents as a musician were greater than the sum of their parts. I was maybe 18 months old when this began, so I just took that and applied it to almost all future talent. The more talented, the greater the genius, the more difficult the challenge of getting the artist to believe in you, so you could eventually convince them to believe in themselves! The humble, shy artist who is truly gifted is my top choice to work with. I’m good on the overblown-ego narcissistic self-centered rap artist or beatmaker. Give me that autistic gentleman who would rather dig through 5000 dusty, filthy records than spend one second talking about how he’s the best rapper to ever rap… I want that one every time, for my friend, my client, my significant other, and I want to listen to their music first before I have to hear that poppycock-rap.
I've learned first-hand how a passion for journalism and desire to improve the music industry can create a conflict of interest—and I feel like I'm in the midst of an identity crisis trying to figure out how I might be able to somehow do both. Did you experience something similar when you transitioned into the business side?
I believe that passionate journalism is key to excellent writing, good research, impeccable editing, and perfection in copyediting. Improving the music industry and business of music is the same concept in a slightly different form of “media.” In my culture, they say, "A nation may rise no higher than its women" and I believe the same in any realm is true. The betterment of journalism, the return of some semblance of integrity is very necessary and only by ensuring women, Black and afrodiasporic individuals, BIPOC, and a myriad of races, religions, ethnicities, phenotypes, heritages, and backgrounds are represented. REPRESENTATION MATTERS. FAME COSTS. IF YOU WANT TO EARN A PLACE AND PAY THE COST TO BE AN ALLY. A white person in the hip-hop music business, culture or publishing sphere: you must be a true ally, which means never taking a job that’s meant for someone of color. White men [also need] to step aside from our industries as they’ve most certainly “ruled” for quite long enough and their time here has passed. I hope that’s taken in the very warm current in which I say it. You don’t have to go home, sir, just get the fuck out of here!
I actually began on the business side because my father “forbade” me from becoming a creative, working artist. I was singing and songwriting and had the chance to do a demo for Motown Records, but that required his “permission” and he refused. A judge refused to emancipate me and make me a legal adult so I could sign my own contracts—and that’s when I gave up on the artist side of things. Now, after 37 years, I have finally released my debut album, and it’s an instrumental album/beat tape that I made to celebrate the infamous “MF" era.
In the announcement post of your debut self-titled album, METALFLOWERZ, you mention that you hope it brings strength to those who are terminally ill, disabled, immunocompromised, or suffering from chronic pain—all of which you are experiencing. How did the album come together, in the face of everything you're dealing with?
I decided to do a six-volume capsule under my production moniker of METALFLOWERZ. Although I learned to produce hip-hop beats by sitting next to, near, or behind some of the most gifted musicians of our times including A-Plus from Souls of Mischief, DJ Khalil of Self Scientific and Aftermath, DJ Muggs, The Architect, Del from Hieroglyphics, and many others. It was with DOOM that I co-produced my first beat. It took me decades to decide, Hey, it’s time for me to live out my culture and to make music professionally as it is in my blood and in my soul to do so. [It] just so happened I’d put every rapper, DJ, emcee, producer and mini indie label owner’s dreams before my own. In the words of one of my most powerful mentors, Sister Thembisa MShaka (Gavin, BET, Sony Music, et al): "I put my dreams first, for once, by any means necessary." Much of METALFLOWERZ VOLUME I (THE TIME SHE FACED DOOM) was done in a hospital room, with an IV in my arm, or in a sickbed confined to doctor-ordered bed rest, in chronic pain, often unable to force my fingers and hands to do what I was asking of them as a DJ, producer, and music maker.
I’m “differently abled” now and recently, the great Dibia$e remarked his surprise [that] I’d never performed or played live beat sets or DJ sets at Flip a Beat Club. My answer was simple: I want to; I need to; I’m so honored to be included among those talented enough to rep and present at their FABC events. But I can no longer stand to DJ or stand over a beat machine to tap keys. If I were to be alive, well enough and able to perform, I’d need to be seated. So those of us blessed to have all of our facilities intact, if we’ve survived global pandemia and a Trump presidency and and the passing on of MANY of our hip-hop legends, peers, and most important people, we must practice inclusion especially vis-a-vis “disability” [as well as] those who may have been “fine” pre-Covid era and are now immunocompromised.
I’m sure you’ve seen photos of me in a Hello Kitty mask or another colorful, cute mask. I am still masking and will do so for the duration because [I'm] a) of mixed Asian descent and b) now permanently immunocompromised. Masking and other accommodations need to become standard fare at nightlife events. We don’t want to miss out on that ultimate party, that perfect DJ set, the one time there was blood on the dancefloor and it was so impeccably crunktastical in the danceria because everyone was there: All genders, races, maybe even an alien or two, plus that one woman dancing her ass off with her cane, and that fly fly fellow in his wheelchair with the best hair ever seen on a scene. In our days and times Basquiat, Haring, (Grace) Jones, and Warhol would likely be left in line because of certain discriminations taking place in the 2020s and as the kids of kids of the original club kids, and the grandchildren of the Legendary Children, as shown in the seminal documentary on parties, Paris Is Burning, we owe it to the world to make the dancefloor a deeply and perfectly inclusive space. And as Sun Ra always said: Space is the place.
“We owe it to the world to make the dancefloor a deeply and perfectly inclusive space.”
You dedicate the project to DOOM, the person also responsible for your production and vocal credits. Did he always know you would become your own artist?
DOOM asked me to continue his legacy by any means necessary, as well as that of his brother DJ Subroc. Now that they’ve both become ancestors, I only know the directive I was given by Dumile, for me—to ensure that his music never stops playing and that the works his life was in livication of teaching babies, raising children, feeding the people, and making sure no one went illiterate—continued after his passing (which he told me decades ago he believed would be “untimely.)” He never asked me to change the plan or to not do those things, so when he went back to the essence, I took a large part of my time, energy, and lifeforce to tell small anecdotes about my times with DOOM, our friends and families' experiences, and some of the tidbits about his process as a producer, writer/emcee, what books we studied, etc., which were very private to him when he was here. Now I’m one of very few people who can recall these interesting factoids because I lived a lot of them or had the information firsthand from his parents, younger brother, close family friends, or other members of KMD… He asked me to be their historian and the librarian, which was always my title.
DOOM was never afraid to tell people that a lot of his samples came from my crates. Or that lyrics he wrote or referenced came from titles on my bookshelf, poems I’d written, long conversations he and I would have with LORD SCOTCH, or things we talked about with Grimm. We all inspired one another and Dumile, unlike many of the men in music and the business of music, actually reveres and loves and respects women. He never put a limitation on what I could do in business or in music creation based on my apparent gender. He wouldn’t have done that to a woman, especially not “Cali Wiz”. DOOM in his own words and voice always sang my praises especially about how well I’d managed his business, the new deals and avenues I helped to [facilitate] introductions to NIKE, Adult Swim, Madlib, Stones Throw, and many others, [that] led to large business ventures for DOOM. For that, I am thankful and proud of my role in it all.
I did this album for me and for my fans who’d been waiting and debating for oh so long, When is she going to do something? The book, her jazz/R&B album, or beats/productions? The fans want me to rap which is something I can do brilliantly but is the furthest thing from my mind at this time. I’ve finally “given birth” to an album of my own creations, laid bare in beats with no raps or songs on them—just the track, only the foundation, yet in and of itself, greater than the sum of each songs' parts. Now I have the thirst to do more beats, greater productions, work on my drums, play my own live instrumentation and do what Dumile did when he used my voice on "Voices, Pt. 0", "I hear Voices. Part 1", "Fancy Clown", [and more]: Sample my own voice speaking, singing, or beatboxing, for that matter. [I did this] to do what I always wanted to do—become part and parcel—an actual living breathing piece of the beat.
It's been in your plans to release self-produced albums and songs for a few years now. Why pull the trigger now?
Simply put, I am terminally ill, lacking good healthcare, having to visit hospitals more and more often. Sometimes when the doctors say, “You’re dying,” I start to believe them. Sometimes.
If you could do the same thing all over again, would you?
Yes, I’d do it again (le sigh). I would do one thing differently though… all those contracts I taught myself how to write, negotiate, and craft immaculately? I’d have carried various versions with me at all times and everyone would’ve had to sign in triplicate, have their signature witnessed and make shit ironclad. Because I still never got paid for anything I did on Madvillainy, and that? IS CRAZY. Now, in 2024, I should have not one, but two gold plaques from the RIAA and Stones Throw on my walls. One for my appearance on "Fancy Clown" as Allah’s Reflection (a featured recording artist!) and another for my work as the A&R on the project. Period. On God.
Which artists, producers, DJs, collectives, or journalists should heads know?
I am primarily involved with a crew of multitalents called The MALI Empire - the primary and founding member being NOWAAH THE FLOOD. Anything TME is going to be fire.
A collective of young emcees/rappers/producers/DJs I’m intrigued by at the moment perform/promote events under the moniker STH or “Scaring The Hoes”; some names to watch for include BlaQ Chidori, Patty Honcho, KNOWITALL, and Backwood Sweetie (she’s one of the best)! Khruangbin is my favorite-favorite genre of music at this time. I’m not leaving here until I’ve seen them perform live.
On the beat scene any time you see Flipabeatclub you want to be there on the scene. Producers I stan at the moment are BigDaddyChop, Nán Fiero, Dibia$e, Fanatik, Del, Hieroglyphics, The Architect aka LORD_ANZU, Georgia Anne Muldrow, myself (METALFLOWERZ), BAEGOD, sovren, Radicule., Ras G (rest in power), Subroc (peace be unto him), METALFINGERZ DOOM (peace be unto him), Cazal Organism, Khadijah Haynes, LINAFORNIA, Shafiq Husayn, and Sa-Ra Creative Partners.
I need to be uplifted by the incredible singing voice of sister Jimetta Rose!
My DJs are DJ Ammbush, DJ Tourè (Hieroglyphics), DJ Nanlib, DJ Kilu Grand, DJ Monalisa, BreakBeat Lou, Mr. Len, Prince Paul, myself (DJ Marijuana Jones), DJ Truly Odd, the world famous Beat Junkies, DJ Evil Dee, Mr. Walt, DJ Muggs and The Soul Assassins.
Rap Noir, Tajai, Black Hoodie, Planet Asia, SIRI SEIKO, Vic Spencer, Beeda Weeda, Shady Nate, Self Scientific, Phil Da Agony, Strong Arm Steady, HUS KINGPIN, Y.N.X., Sleep Sinatra are a few of the emcees really capturing my interest today.
Journalists I love to read are Dart Adams, Timmhotep Aku, Thomas Hobbs, Jerry L. Barrow, Danyel Smith, Walasia “MJ” Shabazz, Arielle Lana LeJarde, Andre Gee, Dylan Green (CineMasai of ReelNotes), Rob Tafari Marriott, kris Ex, dream hampton, Bonz Malone, Aliya S. King, Ryan Proctor, Starr Cheree, Kathy Landoli, Crunk Feminist Collective, and ALL women/femmes/enbees who are making their ways in writing and journalism—HMU ‘cos I ALWAYS want to know your name, read your work and open any doors for you that are still left open to me!
I can’t forget some of my favorite podcasts including FLY FIDELITY (UK), Breaking Atoms, DadBodRapPod, Timmhotep’s Subject To Change and my upcoming pod series JAZZYBELLES.
What can we expect from this mix?
Buckle up, buttercup. This is going to be one weird sixty minute trip with a gully hippie chick who used to rock up from bricks and dance barefoot in the forest on the leaves, twigs and sticks!
Is there anything I haven't asked you that you want to talk about? Anything you want to promote?
I want to remind everyone of DOOM and my missions ensuring that no one in such a wealthy nation as the USA goes without a nutritious meal—by any means necessary. The journey of MM…Food is not over. Volunteer at your local food bank. Sponsor a family you know in your neighborhood be they housed or houseless. When you buy your turkey bacon egg and cheese on the roll, buy two. Plant a food forest. Do some Guerilla gardening. Start a free breakfast program. Sally Struthers walked so you could run. FTP … FEED THE PEOPLE!
I have a food nonprofit of my very own and you can join the informational, always free collective #TheGOLDENnutrients here.
This interview has been edited for clarity and length.
Follow METALFLOWERZ—aka Walasia Shabazz—on Bandcamp, SoundCloud, Instagram, Twitter, and TikTok. You can also read her writing on Medium and Substack or buy her a gift on Throne.
HEADS KNOW TAPE 022: METALFLOWERZ (Walasia Shabazz) was mixed and mastered by NOWAAH THE FLOOD.
