Amoeblog

Help Get Katey Red Into the Black, ya Heard Me‽

Posted by Eric Brightwell, January 18, 2011 12:00pm | Post a Comment

Katey and new fan Andy Schwartz at SXSW 2010 (photo courtesy of Andy Schwartz)

If you're a fan of bounce music or sissy rappers in particular, then you almost certainly know who Katey Red is. Born Kenyon Carter in 1981, Katey came up in the notorious Melph. Katey dropped Melpomene Block Party on Take Fo' in 1999 and made history as the first openly gay rap star. Now's your chance to make history by helping to fund Katey's first music video. Click here to visit the Kickstarter page. There are a variety of incentives to give in addition to helping rectify the great wrong that there are no Katey Red videos up till now.

Big Freedia and Katey Red

The director is David White. According to the page, "David S. White is the primary videographer for Preservation Hall Jazz Band in New Orleans and recently completed shooting and directing a music video for Shamarr Allen. He is currently the Director of Photography for Bayou Maharajah, a feature-length video documentary on the life and music of New Orleans piano legend James Booker. He has also shot Dr. John, Allen Toussaint, Tim Robbins, Soul Rebels Brass Band, Del McCoury, Charles Neville, Cosimo Matassa, Harry Connick Sr, Bunny Matthews, and many others. His most recent short film, Cell Phone Psycho, has been making the rounds at film festivals across the United States, including the New Orleans Film Festival." [bold text is my emphasis]

*****

Ya Hoidz Me? - Talk About Bounce Music

Posted by Eric Brightwell, March 20, 2009 12:01am | Post a Comment

For some reason, the Bounce scene, born nearly 20 years ago, seems to be undergoing a minor critical reassessment as it inspires curiosity in a new generation of fans amongst the young, the Euro, the old and new. I can only guess why. I suspect that part of it is a development of the ongoing, time-delayed, middle class fascination with vulgar, good-time booty, that, as with booty bass, gogo, ghettotech and juke house before, takes a little longer to catch on beyond the music's traditional base. Or perhaps it’s just the curiosity factor due to the prevalence of so many openly gay rappers, who have been the subject of articles in The Village Voice, The Guardian and The New York Times -- although their readers are unlikely to run out and buy the latest
Sissy Rap record. There was even a piece on Bounce for NPR’s stomach-turning attempt at hipness, What's the New What? ...Just the title of that show makes me feel like I've been kicked where it hurts.


On the other hand, sites like
Louisiana Rap, Nola Bounce and Twankle and Glisten have done a good job in documenting the scene and suggest a much deeper, more honest appreciation that makes me happy. I'll be honest, the idea of a politician claiming to like Bounce would make me die a little inside. Yet, I’d love it if all these underappreciated, undercredited artists who made Bounce happen got some well-deserved acknowledgment and attention. With films like Ya Heard Me documenting the scene and Youtubers like 1825 Tulane Ave and Whatheallman tirelessly keeping Bounce in your ear, I guess I can live with the idea that some ironic, comb-over-wearing member of the Dumpster Click is going to be into it too. Anyway, for the time being, if you look up "New Orleans Bounce" on Youtube, you're (currently, at least) unlikely to be confronted with the image an American Apparel/Vice Magazine disaster doing the Eddie Bow.


 
New Orleans’s Pre-Bounce Background
By the early 1980s, rap had spread to every reasonably large American city, each of which responded in part with scenes of their own. Almost universally, these early artists were highly imitative of their New York inspirations. New Orleans’s New York Incorporated (formed in 1984) and Ninja Crew (formed in 1986) were no exceptions. Within a few years, Miami’s Maggotron and MC A.D.E. were creating Electro-indebted Booty Bass and Houston’s Geto Boys and L.A.’s NWA were making Gangsta Rap -- all highly regionalized in their identities. Early New Orleans rappers like Tim Smooth, Warren Mayes and 39 Posse began incorporating various elements of the hip hop of the day, but for the most part, didn't verbally or musically represent the Crescent that overtly.


In the 1980s, port traffic in New Orleans had dried up following the oil industry going bust. Employment opportunities were suddenly limited primarily to the tourist-focused service industry and the city plunged deeply into poverty. With jobs and money scarce, crime on the rise and the war on drugs stepped up, New Orleans grew increasingly cutthroat and violent. By the late ‘80s/early ‘90s, whereas almost all American cities began to see a rise in gang culture, the more desperate New Orleans remained dominated by self-starters, self-servers and hustlers with rivalries and identities tied more often to wards and the city's many, large housing projects than organized gangs. In the process, New Orleans’s hip hop scene began to craft a unique identity quite different than that of most other cities. Tracks like Gregory D & DJ Mannie Fresh’s “Buck Jump Time” and MC Thick’s “Marrero (What The Fuck They Be Yellin)” began to express a New Orleans lyrical specificity largely absent from previous NO rap tracks. In addition, the projects (as well as clubs like Big Man’s, Flirts, 49 and Ghost Town) served as the primary venues for local, aspiring rappers.



But it wasn’t until Bounce that New Orleans crafted a truly unique brand of hip hop, largely based on the samples of two seemingly unlikely records whose journey to New Orleans remains obscure. New York rappers The Showboys released “Drag Rap” in 1986 to resounding disinterest. The first half of the track is very much in the vein of Run DMC, but the latter half kicks off with a synth cowbell-punctuated beat that forms the basis of almost all Bounce. The other track, perhaps even less likely to find its way to New Orleans, was British rapper Derek B’s 1987 single, “Rock the Beat.” An instrumental version of it, labeled “Brown Beats,” was included on legendary DJ Cameron Paul’s mix, Beats & Pieces. These two singles became the backbone of almost all Bounce, although, despite what you often read, they were by no means the only ones. You hear a lot of Rebirth Jazz Band, John Carpenter's Halloween theme and the Jackson 5 in Bounce as well. Just check out
http://bouncebreaksarchive.blogspot.com/ for a fairly comprehensive list.

 
What is Bounce?
Bounce, it is often noted, is based on repetitive, simplistic, call-and-response lyrics (mostly ward and neighborhood shout outs and dance call outs) and built (primarily) on just the two aforementioned singles. One thing that seems conspicuously absent from discussions of Bounce is the Dancehall-influenced flow of the rappers. In the early '90s, that influence was everywhere, from acts like Fu-Schnickens to songs like Ice Cube's "Wicked," which (like many others of the day) featured a guy toasting at some point.


Despite what the national media often suggests, Bounce isn't the widely-heard, late ‘90s New Orleans rap coming from labels like Cash Money and No Limit, although they, along with other New Orleans rappers like Devious, Dog House Posse, Kane & Abel, Mia X, Ruthless Juveniles and others occasionally incorporated Bounce aspects or recorded individual Bounce tracks.


Now a lot of haters and moaners will hate and moan about how Bounce is responsible for killing rap. Supposedly it does this by shifting the emphasis away from the (supposedly progressive) artistry of simple, rhyming couplets delivered with an unvariably 4-4 beat toward Bounce's polyrhythmic, lyrically abstract, fun chants that owe more to the Second Line; Bashment, slave-created music forms (e.g. field hollers and ring shouts); and children’s street culture like playground songs (e.g. "K-I-S-S-I-N-G"), clapping games (e.g." Mary Mack," "Miss Susie," "Stella Elle Olla") and jump-rope rhymes ("Fudge, fudge, call the judge," or "Three, six, nine, The goose drank wine"). This unpretentious rootsiness horrifies stodgy purists, creaky fuddy-duddies and cultural watchdogs but is ripe for enjoyment both from p-poppers and subcultural anthropologists who can hear that Bounce expresses more personality in one silly line than most “serious” rappers do over entire careers of insecure, self-absorbed, macho fantasy.

Trailer for Ya Heard Me

Bitch, Stop Talkin’ that Ish - Bounce’s Golden Age
With such a limited lyrical lexicon, DJs and producers like Polo, Precise, DJ Duck, DJ Money Fresh, Mannie Fresh, Henry the Man, E-Jay, and DJ Irv should get at least as much credit as the MCs for the creation of Bounce. Because, at least as important as calling out every ward, project and (on rare occasions) Southern state is the curiously powerful pull of those beats that just grab you.

TT Tucker & DJ Irv - "Where Dey At?"
 
1991
Bounce really began in late 1991, when TT Tucker and DJ Irv recorded, but never officially released, a song they’d perfected at Ghost Town, the blueprint for the genre, “Where Dey At?” It was so repetitive, so infectious and so gutter, it captured the hearts and minds of thousands and so it began. Sadly, the duo never much capitalized on their pivotal role, with TT Tucker in and out of the clink and DJ Irv tragically shot and killed.


DJ Jimi (featuring Jimi's mom) - "The Bitch's Reply"

1992
Almost immediately, similar Bounce songs followed in the wake of "Where Dey At?" Jimi “DJ Jimi” Payton, a DJ at Big Man’s, joined by Dion “Devious” Norman and Derrick “Mellow Fellow” Ordogne, crafted a followup, "(The Original) Where They At." After it was licensed to Memphis’s Avenue Records, it resulted in a response track from Memphian rapper FM with “Gimme What You Got (For a Pork Chop!). DJ Jimi also gave the first recording exposure to Juvenile, who went on to find lasting fame beyond the genre, but did so much with so little (lyrically) as a Bounce artist. That same year, Mannie Fresh and Gregory D ended their professional relationship, unhappy with RCA’s handling of their career. Fresh then joined the fledgling Cash Money label, whose first release (Kilo-G’s Sleepwalker) was not Bounce, but who soon were known for crafting Bounce songs, as was the fledgling Take Fo’ Records.

D.J. Jimi (featuring Juvenile)
– “Bounce (For the Juvenile)”
D.J. Jimi - “(The Original) Where They At”
Everlasting Hitman - Bounce! Baby, Bounce!

Ju'C - "Lick Da Cat"
 
1993
1993 was the year that Bounce really exploded. Moving beyond its simplistic origins only slightly, groups like UNLV helped popularize the genre by adding elements of Gangsta Rap and soon inspired many similar releases by other acts, especially across town, over at the brand-new Big Boy Records, which escalated into a heated Gangsta Bounce rivalry.

Da’ Sha Ra’ – Bootin’ Up
Daddy Yo – “I’m Not Your Trick Daddy”  
DJ Jubilee – “Jubilee All (Stop Pause)”
Joe BlakkIt Ain’t Where Ya From
Ju’C – “Lick Da Cat”
MC Spud & DJ Def  - “Holla If Ya Hear Me”
Lil Elt – “Get da Gat”
Sporty T – “Jackin for Bounce”
UNLV – “UNLV Style,” “Eddie Bow“

Fila Phil - "Hustlaz"

1994
In 1994, national interest in Bounce was first shown when Scott Aiges wrote an article on how much more popular the genre was in New Orleans than nationally promoted artists. The tone at the labels wasn't so much interest, but concern. They wondered why people were buying tapes out of trunks instead of the "Heatseekers" on the Hot 100? On April 22, in a tragedy for Bounce, his friends, fans and family, local legend Edgar "Pimp Daddy" Givens was murdered in the 9th ward.

B-32I Need a Bag of Dope
Fila Phil – “Hustlaz “
Lil Slim – “Eagle St. Bounce”
Partners-N-CrimePNC
Pimp Daddy – “Got 2 Be Real”
 

Dolemite - "Hustla, Hustla"

1995
In 1995, No Limit moved from Richmond, California to New Orleans where the Bounce scene was, by then, huge... at least, regionally. No Limit released a compilation of both Bounce and non-Bounce artists, Down South Hustlas -- Bouncing and Swingin' and began to successfully build on the New Orleans rap scene, ultimately signing a major deal with Priority, then flush with cash off the success of The California Raisins. Over the next few years, their Pen & Pixel-decorated CDs flooded the national market and media interest in New Orleans exploded as Southern rap began to completely eclipse the east and west coasts.

Cheeky Blakk – “Bitch Get Off Me,“ “Twerk Sumthin’"
Dolemite – "Hustla Hustla"
Ricky B. – “Shake Fa Ya Hood,” “Who Got The Fire”
2 BlakkThe Game
 

Magnolia Shorty - "Monkey on the D$ck"

1996
On February 6th, 1996, another Bounce pioneer, Floyd "Everlasting Hitman" Blount was tragically murdered in Fisher. Around the same time, with UNLV’s hit "Drag 'Em in the River" and No Limit’s Beats By the Pound-crafted, bottom-heavy, electronic-based rap, the media began to inaccurately ascribe the term "Bounce" to these nationally popular New Orleans releases. Over the next few years, the word “Bounce” was to be tossed like so much Mrs. Dash by many a non-southerner trying to add a little spice.

Lady Red – “Smokin’ Dat Weed”
Magnolia Shorty – “Monkey on the D$ck “


Kilo - "The Ward Song"
 
1997
By 1997, all of Cash Money’s original lineup of Bounce and non-Bounce artists were either dead (UNLV’s Albert "Yella Boy" Thomas was murdered on April 5th of that year) or dropped. Solja Rags, the new Juvenile album, further shifted attention away from Bounce with Juvenile' new direction and Mannie Fresh's continuation of his sound first evinced with UNLV a year earlier.

Kilo
– "The Ward Song"
Willie Puckett- "Doggie Hopp"
 
Snap Crackle Pop – The Silver Age of Bounce
By the end of the millennium (following their meteoric rise in popularity, major label deals, and subsequent mass defections of talent), Cash Money and No Limit were both reduced to being primarily family affairs. At the same time, national interest in Southern Hip Hop began to shift to Atlanta, Houston and Memphis -- scenes that owed heavily to New Orleans's sound and successes. 


Josephine Johnny - "Workin' With Sumthin'"

A new generation of Bounce artists began to expand the production pallet of Bounce, ironically, toward the increased use synthesizers and programming popularized by Beats By the Pound and Mannie Fresh, who’d helped popularize (in some ways at the expense of Bounce) New Orleans’s non-Bounce successes. The new crop of Bounce artists, despite moving beyond their Triggerman-and-Brown-Beat-sampling forebears, nonetheless undeniably carried the Bounce torch when, to some, it must've seemed all but done and dusted. In addition to all of these artists remaining active today, there are newer acts in the same vein, like Da Block Burnaz, keeping the classic N.O. Bounce spirit alive, whereas most rappers chase passing fads.

1999
5th Ward Weebie – “Show the World”
 
2000
Josephine Johnny – “Workin’ Wit Somethin “
 
2001
Choppa –“ Choppa Style”
 
Tweaker Twerk - Modern Bounce & Sissy Rap
Undeniably defying the tired suggestion that all Bounce sounds the same, modern Bounce artists can truly be said to be taking it into new directions. A large part of this seems to be due to the rise of Sissy Rap, the openly gay Bounce offshoot pioneered by Katey Red & Dem Hoes. Following her lead, a whole host of Sissy Rappers followed with similarly ear-splitting, racous songs whose lyrics make early Bounce artists look like Charles Dickens. Always more egalitarian than mainstream and so-called progressive hip hop, Bounce (like a lot of booty-targeting music) has always had a comparatively large following among women and gays. The “Sissy” moniker, like “Cheb” in Rai, is nearly but not quite universal. With newer Bounce artists including Big Freeda (aka Big Freedia), rappers on the DL, heteroflexibles and just given the confusing sartorial sense of kids today, it becomes harder to differentiate many Sissy Rappers from straight modern Bounce artists, as their music is generally very similar.

Gotty Boi Chris - "Dip Low"
 
The defining development of modern Bounce and Sissy Rap is the increased aural insanity. Faster tempos, lyrics reduced to chopped and repeated phonemes, punishing dissonance, cacophonous clangor and frequently blown out production have turned what was once a distinct-from-but-recognizably-related-to-hip-hop genre into something that sounds like a hybrid of Gabber and Gnawa. The end result is almost avant-garde, and more deserving of the hype and description that Konono No. 1 generated a few years back with their comparatively familiar, down-to-earth approach. No doubt the increasingly insular nature of Bounce is only part of what keeps it out of the mainstream, despite recent media attention.


Big Choo - "Get Low"

Unfortunately, finding accurate discographical information on Bounce artists seems to grow surprisingly more difficult, the newer the artist. But other exemplars include DJ Black N Mild, Big Choo (“Get Low”), 9th Ward Tea, 10th Ward Buck, Chev Off the Ave (“Hollywood Bounce”), Dre Skull, Elm Boy Peg, Gotty Boi Chris, MC Shakie (“Double Dribble” and “Hands on Da Ground”), Sissy Jay, Sissy Nobby and Vockah Redu.
 
1999
Katey Red & Dem Hoes – “Tiddy Bop”
 
2000
Big Freedia –“A'han, Oh Yeah”
 
2002
SWA – “We’re #1“
 
2004
Faster Boyz – “I Ain’t Had Sex in a Long Time”
 
2005
Hot Boy Ronald – “Walk Like Ronald "

Any corrections or additions will be incorporated. Peace!


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I feel like bootin' up -- The Take Fo' story

Posted by Eric Brightwell, February 20, 2009 06:06pm | Post a Comment


Take Fo' Records
is a little known (outside of New Orleans) music label that truly broke ground with its motley roster of artists and progressive attitude, yet it's never received adequate recognition for its pioneering role in music. Whereas New Orleans's other big labels: Big Boy, Cash Money, Mobo, Parkway Pumpin', Untouchable, Tombstone and No Limit all seemed to consciously project a hard-as-nails image with tales of slangin', bangin', head bussin' and wig splittin', Take Fo' welcomed gangstas but also ball busters, dancer-cum-rappers, party starters and probably the first openly gay rapper. Despite the possible negative associations that might come with being part of this hip hop Island of Misfit Toys, the rappers on Take Fo' seemed unbothered and showed up on each others' albums in a show of courageous support.



 

Take Fo' evolved from the public access show Positive Black Talk that began in 1990 and was co-hosted by Earl J. Mackie. Their definition of "positive" wasn't necessarily in line with American mores at large, where violence is pretty much embraced and sexuality is incredibly repressed. Even in New Orleans, which is largely a lot more open-minded, not everyone appreciated Mackie's conception of positivity and he got grief from his pastor. But all of the show's guests conveyed messages of self-empowerment in their own ways, even if they ruffled some feathers along the way.





In 1992, Positive Black Talk lost its grant and Mackie hosted a dance at a local high school to raise funds for the show. The centerpiece was meant to be Da'Sha Ra' (pictured above) but a special ed teacher asked if he could warm up the crowd. After half an hour of captivating the audience, Henry "Henry the Man" Holden and Mackie began to formulate a new idea. After raising more in one night than the show had in two years, they switched tracks and soon Positive Black Talk Inc. morphed into Take Fo' Records and the show was no more. It took a couple months of pressure to get the warm up act, DJ Jubilee, to sign, as he already was commited to teaching and coaching, but he ultimately did and became the label's biggest star. Joined by partner Elden Anderson, the new label operated in the back of Mackie's father's roofing business. Henry the Man and E-Jay handled the production for the tracks and the label's ranks grew as more artists signed.


In the early '90s, Take Fo' quickly became one of the two labels that most epitomized Bounce music, the other being Mobo. Cash Money and Big Boy were both then primarily focused on producing a gangstafied Bounce variant, pioneered by U.N.L.V., who coined the term Gangsta Bounce. No Limit, having started in Richmond, California, was decidedly straight gangsta, albeit with a southern flavor courtesy of the second line-influenced production of Beats By the Pound. Jubilee's music, on the other hand, was in the vein of the Bounce's pioneers, TT Tucker & DJ Irv, DJ Jimi and Everlasting Hitman-- mixing the triggaman beat, the brown beat, calling out dance moves and shouting out wards, projects and occassionally neighboring southern states. "Stop Pause," his debut single, sold 30,000 copies and gave the label its first hit. By the mid-to-late '90s, Take Fo's New Orleans neighbors had all but completely dropped the Bounce aspect of their music but Take Fo' kept wobbling into the new millenium, ultimately spawning Bounce's shrill, gay offshoot, Sissy Rap.


By the late '90s, with the nationwide ascendancy of southern rap, the increasingly marginalized old record labels carpetbagged it down to N.O. hoping to exploit the city's East and West coast obliterating scene. First, Priority signed a deal with No Limit, then Universal signed a major deal with Cash Money. In 1999, DJ Jubilee signed a deal with Tommy Boy but they didn't allow him to record and eventually freed him. Meanwhile, Big Easy Distributing, Take Fo’s distributor, went out of business. That same year, Take Fo’s promoter, the legendary Bobby Marchan, also passed away.

Take Fo' famously ended up going to court several times over the years. In one case, DJ Jubilee sued Juvenile, alledging that the Juve's "Back That Azz Up" ripped off Jube's "Back That Ass Up" based on the claim that he'd originated the dance at block parties. As much as I like Jubilee and feel bad that he's never achieved anywhere near the fame he deserves, I have to say he didn't really have a case since he wasn't suing that his dance had been ripped of, but that his song had. Mannie Fresh, for his part, admitted that "Back That Azz Up" was inspired by Jubilee's song, but with significantly varied production and even the lyrical conversion of what was a dance chant into more sexual territory, the court ruled in Juvenile's favor. A few years later Take Fo' sued Master P for breach of contract, alledging that No Limit failed to adequately pay Take Fo' in their joint venture with Choppa and I guess they settled for an undisclosed sum.


In 2001, Take Fo' became The New Take Fo'. After Katrina, the label relocated to Houston but returned by 2009, when they celebrated 17 years in the game. Whilst they may be fairly obscure, they've shown remarkable perseverance, a defiant open-mindedness, and created some classic music along the way.

Partial Take Fo' timeline/discography


1994 - Flesh & Blood - Flesh & Blood



1995 - Da'Sha'Ra - Still Bootin' Up, DJ Jubilee - Stop Pause, DJ Jubilee - DJ Jubilee & the Cartoon Crew


1996 - War Time featuring The Hideout - The Album,  Big Al & Lil Tee - B***h You Know Who I Am, DJ Jubilee - 20 Years in the Jets


 

1997 - 2-Sweet - Actin' Bad, Willie Puckett - Doggie Hop, DJ Jubilee - Get Ready, Ready!



(original Choppa Style - poor quality)


(No Limit remake - medium quality)

     

1998 - Willie Puckett - Million Dollar Hot Boy, DJ Jubilee - Take it to the St. Thomas

   

1999 - Katey Red & Dem Hoes - Melpomene Block Party, K.C. Redd [RIP] & the Shake 'em Up Girls - It's a G-Thang, Lisa Amos - Cause You Love Me

 Katey REd Y2 Katey 

2000 - DJ Jubilee - Do Yo Thing Girl!, Katey Red - Y2 Katy, Tec-9 - Ready 4 War



   

2001 - Choppa - Choppa Style, DJ Duck - Duck Remixxes, Junie Bezel -
That's How Mess Get Started

Post Script: Kasey "K.C. Redd" Segue was shot to death in 2006. Katey Red filmed her first video in 2011, for "Where Da Melph At?"

*****

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