many were instantly offended, women fond of the song often explained, "It's not about me." Especially from women, a near apology emerged: Oh, I just like the beat. But in one view, this adopts a sexist stereotype: "men work the intellect, and women work the body." At least some girls who ignored accosts by passerby boys were harassed by chants from the hook. In perhaps 1995, a New York rap mogul promoted a party where one Sarah Jones was, "like some video ho, singing along to 'bitches ain't shit but hos and tricks.' " She noticed, "This is not me. You know, I disagree!' " Wistful for classic hip hop, she wrote a poem, "Your Revolution," its motif Your revolution will not happen between these thighs. Read as slam poetry, it helped her get an Off-Broadway show, and in 2000 was televised on cable TV series Def Poetry Jam. DJ Vadim then produced a version to music. In 2001, the Federal Communications Commission, deeming it indecent, fined a Portland radio station for playing it, but reversed after Jones became the first artist ever to sue the FCC. In 1995, Dream Hampton, about her first writing assignment, reviewing the debut or 1990 album of H.W.A., or Hoes With Attitudes, recalled "boys' most twisted notions of womanhood—that 'bitches ain't shit but hoes and tricks.' " The Source's September 1993 issue has Hampton profiling Snoop but noting, "Women like him because of, not in spite of, his verse on 'Bitches Ain't Shit,' " among her own "two favorite songs this summer." New York rapper Jadakiss, a man, called women the "main ones" seeking "entertainment" by Snoop and "that 'Bitches Ain't Shit' shit." In 2008 in Detroit, a female open mic's planning held a female focus group, which, scorning the proposed name, advised Bitches Ain't Shit. In 2015, chairperson of theatre arts Amy Cook, in research on casting, indulged her urge "to sing along about how 'bitches ain't shit.' " Her own dissimilarity, being white and female, versus from the rappers, thus her likelihood to get cast as "one of the various 'bitches,' " expands her "leap" into an "outlaw" persona fit to counter any threat. "I take on the position of the powerful, the angry, the sad, the person aggrieved by 'bitches.' " Further, amid the female/male distinction's social primacy, when beholding such a "strategic miscasting, or counter casting," Cook explains, "the spectators