By: Todd “DG” Davis
Rapindustry.com

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Shortie No Mass [Terressa Thompson] is one of those rare underground voices whose impact was built quietly but lasts loudly. Coming up through the Boston–Philadelphia hip-hop circuit, she emerged during a time when lyricism, DJ culture, and raw studio energy shaped artists before industry machinery ever did.  

Early connections within the Native Tongues orbit placed her alongside influential moments in 1990s hip-hop, including work tied to De La Soul and The Roots. Her presence on records like “In the Woods” and “U Like My Style” reflected a simple but powerful approach — stay sharp, stay real, and let the verse speak without excess.

 

 

 

Known for her grounded delivery and boom-bap sensibility, she became part of a generation that valued authenticity over visibility. Rather than chasing spotlight moments, her work moved through collaboration, culture, and consistency.  

Years later, she returned with Here Goes Nothing [2021], a reflective project that also featured her son, Jay Law, bridging legacy with evolution. Even now, her catalog stands as a quiet reminder of a foundational era in hip-hop — one built on lyricism, connection, and respect for the craft.   

Growing up in Philadelphia, how did your city shape your perspective and style as an MC?    

I actually grew up in Boston. I moved to Philadelphia when I was 11. Growing up in Philly, we were always known for having great DJs, and it was through hanging around DJs that I got introduced to breakbeats, which ultimately started me rhyming over them.    

How did you first connect with De La Soul, and what was it like recording on Buhloone Mindstate?    

I first connected with De La backstage at a concert when I was 17. I used to hang out with Pos and would go to the studio with him. One day, he just told me I was going to be on the album. It was all a bit surreal, really.   

Can you share the story behind your standout features like “In the Woods” and “Ego Trippin’ (Part Two)”?   

 

 

Again, I was always in the studio with Pos, so I’d be there doing ad-libs all the time. I was super nervous writing and recording “In the Woods” because it was going to be my debut to the world. It’s still one of my favorite songs. I love going back and forth with Dave/Trugoy.    

Your 1995 single “U Like My Style” became an underground classic — what inspired that track and its jazzy vibe?    

Nothing inspired it per se. Mr. Walt gave me the beat, I liked it, and I wrote to it.    

How did your affiliation with the Native Tongues collective influence your approach to lyricism?    

Even before I knew them, I was always inspired by all of the Native Tongues artists. I felt super blessed to be able to work with them — or even know them at all.    

As a female MC in the mid-’90s underground scene, how did you navigate expectations and carve your own identity?    

I came up in the era of Lil’ Kim and Foxy Brown. For me, it was very important to be respected as an MC for my skills, not my sexuality.    

How does it feel to see your rare singles reissued and celebrated by a new generation of hip-hop fans?    

I love it. I’m absolutely flattered by it. At this stage in my life, I make music for the fans who ask for it — for no other reason.     

What’s it like reflecting on the early days with Prince Paul, J Dilla, and other key figures in recent documentaries and retrospectives?    

I’m not really sure how to answer that because, unfortunately, I never had the chance to meet J Dilla. And while, of course, I knew Prince Paul, we didn’t hang out a whole lot — we’d just see each other from time to time.   

Looking back, what moments in your career are you most proud of, and how do you want your legacy remembered?    

I’m most proud of working on music with my son. And honestly, I just want to be remembered as one of the dopest female MCs in the game.