1 00:00:07,905 --> 00:00:09,490 [narrator] From the late '80s onward,< 2 00:00:09,740 --> 00:00:11,868 hip-hop was dominated by two regions, 3 00:00:12,326 --> 00:00:13,870 the East and the West. 4 00:00:14,203 --> 00:00:17,498 [hip-hop beats continue] 5 00:00:18,249 --> 00:00:20,042 [narrator] But Atlanta's rise in the mid '90s 6 00:00:20,126 --> 00:00:21,919 marked the start of a new chapter in hip-hop. 7 00:00:22,962 --> 00:00:24,422 A power shift to the South 8 00:00:24,755 --> 00:00:26,340 that was rooted in regional pride, 9 00:00:26,423 --> 00:00:28,801 and shaped by indigenous influences. 10 00:00:29,135 --> 00:00:30,761 Because, all across the South, 11 00:00:30,845 --> 00:00:33,931 free from preconceptions of what hip-hop could be or should be, 12 00:00:34,015 --> 00:00:37,852 DJs, MCS and producers were creating the future of hip-hop... 13 00:00:39,979 --> 00:00:41,981 including here: New Orleans. 14 00:00:45,985 --> 00:00:50,406 [urban ambience] 15 00:00:50,531 --> 00:00:53,367 [New Orleans jazz music playing] 16 00:00:57,496 --> 00:01:00,374 New Orleans is a musical place, it's a magical place 17 00:01:00,458 --> 00:01:01,959 when you talk about musicians. 18 00:01:02,043 --> 00:01:03,502 You can find one on every corner. 19 00:01:04,253 --> 00:01:07,548 [male] You have so much mixture of different types of music in the city. 20 00:01:07,632 --> 00:01:10,092 We call it "gumbo." You put a lot of different flavors in it, man, 21 00:01:10,176 --> 00:01:11,427 and you get one big pot out of it. 22 00:01:11,510 --> 00:01:14,639 [DJ Jubilee] It makes New Orleans unique, and people just wanna be a part of it. 23 00:01:14,722 --> 00:01:18,184 [New Orleans jazz music plays] 24 00:01:18,267 --> 00:01:20,811 [narrator] As the birthplace of jazz and the home of Mardi Gras, 25 00:01:21,312 --> 00:01:22,897 NOLA was bound to touch hip-hop. 26 00:01:23,648 --> 00:01:26,108 This is a city where music underscores everything. 27 00:01:27,068 --> 00:01:29,445 Because in New Orleans, there's music in life, 28 00:01:30,196 --> 00:01:31,572 and there's music in death. 29 00:01:32,949 --> 00:01:34,575 [Charlie] It's important to understand 30 00:01:34,659 --> 00:01:38,704 that New Orleans is the most Africanized city in America. 31 00:01:38,829 --> 00:01:42,750 Because the French were very lax with the slaves, 32 00:01:43,376 --> 00:01:45,711 the Africans who were brought here 33 00:01:45,795 --> 00:01:49,048 were able to retain a lot of African culture. 34 00:01:49,548 --> 00:01:53,260 In African culture, we don't look at death as "the end," 35 00:01:53,552 --> 00:01:56,013 we look at it as the next phase, 36 00:01:56,097 --> 00:01:58,057 and you're supposed to celebrate that. 37 00:01:58,140 --> 00:02:00,476 [funeral march plays] 38 00:02:01,602 --> 00:02:04,897 [Charlie] "Second line" is based on a New Orleans jazz funeral, 39 00:02:04,981 --> 00:02:08,818 where you have the band leading the family down to the grave site. 40 00:02:09,151 --> 00:02:11,779 That's the first line, is the family and the band, 41 00:02:11,862 --> 00:02:13,280 and it's very somber. 42 00:02:13,364 --> 00:02:14,782 And, on the way back, 43 00:02:14,865 --> 00:02:16,534 whoever else joins in, 44 00:02:16,742 --> 00:02:18,786 that becomes the second line 45 00:02:19,537 --> 00:02:20,955 and it's really a party. 46 00:02:21,038 --> 00:02:23,249 [upbeat New Orleans jazz music plays] 47 00:02:24,625 --> 00:02:26,544 The second line is like a magnet. 48 00:02:26,627 --> 00:02:29,422 You draw all kinds of people in and they all walk in the streets together, 49 00:02:29,505 --> 00:02:30,923 like, in one big ol' pile. 50 00:02:31,007 --> 00:02:33,384 [New Orleans jazz music plays] 51 00:02:33,467 --> 00:02:36,303 [DJ Jubilee] It's how we end off a party, with a great second line, baby. 52 00:02:36,387 --> 00:02:38,723 -[interviewer] That's it. -[DJ Jubilee] Oh. Watch out, y'all. 53 00:02:38,806 --> 00:02:42,143 [DJ Jubilee humming to a beat] 54 00:02:43,811 --> 00:02:46,272 [male] If you go to the second line, as the band's playing, 55 00:02:46,355 --> 00:02:49,442 a couple of people will pick up something and play with them. 56 00:02:49,525 --> 00:02:51,610 I don't care if it's a bottle or a stick, 57 00:02:51,694 --> 00:02:53,696 a screwdriver hitting on a stop sign, 58 00:02:54,071 --> 00:02:57,491 they will find something just to be part of what the band's doing. 59 00:02:58,743 --> 00:03:00,786 New Orleans is just related to music, 60 00:03:00,870 --> 00:03:02,747 and it's just our DNA. 61 00:03:03,664 --> 00:03:05,875 [Mia X] We move to a different beat in New Orleans. 62 00:03:05,958 --> 00:03:09,128 The influence of the Mardi Gras Indians, 63 00:03:09,211 --> 00:03:13,716 and the second line bands are in us every time we get ready to write a rhyme. 64 00:03:13,799 --> 00:03:15,426 What it is, is a lot of chanting. 65 00:03:15,509 --> 00:03:18,846 [Mardi Gras Indians chanting] 66 00:03:22,808 --> 00:03:25,102 [interviewer] Call and response is a big part of it, right? 67 00:03:25,186 --> 00:03:27,521 [female] I love it. I'm about to show you what it is. 68 00:03:27,605 --> 00:03:28,439 Alright. 69 00:03:28,522 --> 00:03:30,941 When I say "Cheeky," you say "Blakk." 70 00:03:31,067 --> 00:03:32,526 -I'm Cheeky. -Blakk. 71 00:03:32,610 --> 00:03:33,694 -I'm Cheeky. -Blakk. 72 00:03:33,778 --> 00:03:36,072 -We rockin', we rollin' with Cheeky. -Blakk. 73 00:03:36,155 --> 00:03:38,240 -You movin', you groovin' with Cheeky. -Blakk. 74 00:03:38,324 --> 00:03:40,367 I love the way you really sing it with Cheeky. 75 00:03:40,451 --> 00:03:41,660 -Blakk. -Twerk up. 76 00:03:41,744 --> 00:03:44,371 -I forgot that one already. -Twerk something. 77 00:03:44,455 --> 00:03:46,248 Something... I already forgot it. 78 00:03:46,332 --> 00:03:48,417 It all connects: the Mardi Gras Indians, 79 00:03:48,501 --> 00:03:50,252 the second line sound. 80 00:03:50,419 --> 00:03:53,089 You heard all that good stuff like that at block parties. 81 00:03:53,172 --> 00:03:54,131 And it's the beat. 82 00:03:54,215 --> 00:03:56,008 It's the beat that gets the feet moving, 83 00:03:56,092 --> 00:03:58,010 and the hands clapping, and the people jumping. 84 00:03:58,094 --> 00:03:59,887 On that note, block parties here, 85 00:03:59,970 --> 00:04:02,306 were they a big thing when you were growing up? 86 00:04:02,389 --> 00:04:03,307 Oh, most definitely. 87 00:04:03,390 --> 00:04:04,517 [hip-hop beats playing] 88 00:04:04,600 --> 00:04:06,602 You say they got a block party here, 89 00:04:06,685 --> 00:04:08,062 everybody meeting at that location. 90 00:04:08,562 --> 00:04:10,189 You got guys on motorbikes, 91 00:04:10,272 --> 00:04:12,566 you got girls in their high shorts. 92 00:04:12,650 --> 00:04:15,027 Wherever the girls go, the fellas will follow. 93 00:04:15,444 --> 00:04:17,947 [Mia X] Block parties really used to be in the projects, you know. 94 00:04:18,030 --> 00:04:19,323 We used to call it the DJ, 95 00:04:19,406 --> 00:04:22,451 and that's how a lot of DJs made a name for themselves. 96 00:04:22,535 --> 00:04:24,286 You know, the late, great Sabu, 97 00:04:24,370 --> 00:04:27,748 he was, like, one of the first mobile DJs we had in New Orleans. 98 00:04:27,832 --> 00:04:31,043 He was, like, the record man, and he would pass on your block, 99 00:04:31,335 --> 00:04:33,420 and he would play records, and, you know, 100 00:04:33,504 --> 00:04:36,048 he gave block parties before block parties were block parties. 101 00:04:36,132 --> 00:04:38,008 Then Sabu had a baby. 102 00:04:38,259 --> 00:04:39,760 He was, like, a child prodigy. 103 00:04:39,844 --> 00:04:42,847 He could do everything at a young age. 104 00:04:42,930 --> 00:04:48,519 I'm not surprised that he is one of the greatest producers in the game. 105 00:04:48,602 --> 00:04:51,605 His love for music was just always there. 106 00:04:51,689 --> 00:04:54,316 He was always trying to push the envelope. 107 00:04:54,400 --> 00:04:56,527 [hip-hop beats playing] 108 00:04:57,736 --> 00:05:00,614 [narrator] DJ Sabu rocked block parties across New Orleans, 109 00:05:01,240 --> 00:05:03,784 but his biggest legacy was right at home. 110 00:05:04,368 --> 00:05:06,620 Because, while Sabu was working the turntables, 111 00:05:06,704 --> 00:05:08,664 his son was watching and listening, 112 00:05:09,165 --> 00:05:11,417 soaking up the game and learning the craft. 113 00:05:12,084 --> 00:05:13,794 And, he'd apply all his knowledge 114 00:05:13,878 --> 00:05:15,671 to set the tone for the sound of NOLA hip-hop. 115 00:05:16,297 --> 00:05:19,049 [hip-hop beats playing] 116 00:05:20,593 --> 00:05:23,679 My dad, Sabu, was a street DJ in New Orleans, 117 00:05:23,762 --> 00:05:25,264 and his performances were crazy. 118 00:05:25,347 --> 00:05:28,726 I remember my dad used to come home with 'DJ of the Year' trophies. 119 00:05:29,268 --> 00:05:31,770 Early on, my dad did block parties. 120 00:05:31,854 --> 00:05:34,565 I just remember my dad back-spinning Chic, "Good Times." 121 00:05:34,648 --> 00:05:36,150 [singing "Good Times"] ♪Good times ♪ 122 00:05:36,233 --> 00:05:37,693 [imitates beat and scratching record] 123 00:05:37,776 --> 00:05:39,320 ♪Gimme gimme gimme good times ♪ 124 00:05:39,862 --> 00:05:41,989 I had never heard the song before, 125 00:05:42,489 --> 00:05:44,658 but I was just like, "Whatever the fuck that is, 126 00:05:44,742 --> 00:05:46,035 I need to learn how to do that." 127 00:05:46,118 --> 00:05:48,329 That was the defining moment. That record. 128 00:05:48,454 --> 00:05:49,872 It was life-changing. 129 00:05:50,164 --> 00:05:52,875 I practiced 24/7, all day, 130 00:05:52,958 --> 00:05:55,169 get on my mom's nerves, my dad's nerves. 131 00:05:55,252 --> 00:05:57,046 He a DJ, but he still going, 132 00:05:57,129 --> 00:05:58,214 "Turn that shit off." 133 00:05:59,298 --> 00:06:00,382 [hip-hop beats playing] 134 00:06:00,466 --> 00:06:02,468 [Mannie Fresh] I started DJing block parties. 135 00:06:02,551 --> 00:06:05,137 Now, at the time, Miami bass had started jumping off. 136 00:06:05,221 --> 00:06:10,392 I noticed that everybody in New Orleans loves 808 beats. 137 00:06:10,476 --> 00:06:13,020 I started bringing my 808 drum machine to the gigs, 138 00:06:13,103 --> 00:06:14,063 and that caught on. 139 00:06:14,146 --> 00:06:15,481 Kids would be like, 140 00:06:15,564 --> 00:06:17,358 "Hey, when you gonna play the drum machine?" 141 00:06:17,441 --> 00:06:20,027 This is what people wanted me to do, more than DJing. 142 00:06:20,110 --> 00:06:23,405 At the time, I was working at Allen Toussaint's Sea-Saint studio. 143 00:06:23,489 --> 00:06:25,074 The guy in there was like, 144 00:06:25,157 --> 00:06:26,200 "Do you know any rappers?" 145 00:06:26,283 --> 00:06:28,827 And I'm like, "Yeah, I know this guy, Gregory D." 146 00:06:28,911 --> 00:06:31,413 So they're just like, "If y'all wanna make a song, 147 00:06:31,497 --> 00:06:32,331 y'all can do it, 148 00:06:32,414 --> 00:06:34,792 but it's gotta kind of sound like something New Orleans." 149 00:06:34,875 --> 00:06:39,255 This is somebody's idea of how I'm gonna merge hip-hop with jazz. 150 00:06:39,338 --> 00:06:40,756 And, I'm automatically going, 151 00:06:40,839 --> 00:06:43,550 "If I get a chance, I'm just gonna put some 808 drums in there." 152 00:06:43,634 --> 00:06:46,053 And I'm like, "It ain't gonna be no horns and all." 153 00:06:46,136 --> 00:06:47,054 [Mannie Fresh laughing] 154 00:06:47,137 --> 00:06:48,764 I laid the beat down, 155 00:06:48,847 --> 00:06:49,807 and I was like, 156 00:06:49,890 --> 00:06:52,268 "What if I just tripled the snares and all of that?" 157 00:06:52,351 --> 00:06:57,398 [Mannie Fresh mimicking New Orleans drums] 158 00:06:57,481 --> 00:06:58,732 The drums started sounding like, 159 00:06:58,816 --> 00:07:00,985 "Well, damn, that's like a New Orleans pattern." 160 00:07:01,485 --> 00:07:03,320 It came from growing up here. 161 00:07:03,612 --> 00:07:04,989 I just turned this... 162 00:07:05,072 --> 00:07:07,783 this 808 drum into the New Orleans second line 163 00:07:07,866 --> 00:07:08,701 jazz drumming. 164 00:07:09,201 --> 00:07:10,661 And so, Greg was like, 165 00:07:10,744 --> 00:07:13,706 "I know how to make it traditional New Orleans buck jump." 166 00:07:13,789 --> 00:07:14,999 [New Orleans jazz playing] 167 00:07:15,082 --> 00:07:17,835 "Buck jump" is pretty much a dance in New Orleans. 168 00:07:17,918 --> 00:07:19,920 It's what you do when you second line. 169 00:07:20,004 --> 00:07:23,132 It was like, "Okay, this is what classic New Orleans wanna hear." 170 00:07:23,215 --> 00:07:26,218 They like, "Yeah, say something about buck jumping, about unity, 171 00:07:26,302 --> 00:07:27,761 keep everybody together or whatever." 172 00:07:27,845 --> 00:07:29,179 So, that's how this song came. 173 00:07:29,263 --> 00:07:30,431 ♪Buck jump time ♪ 174 00:07:30,514 --> 00:07:31,515 ♪That Caliope ♪ 175 00:07:31,598 --> 00:07:32,433 ♪Buck jump time ♪ 176 00:07:32,516 --> 00:07:33,600 ♪That Melpomene ♪ 177 00:07:33,684 --> 00:07:34,518 ♪Buck jump time ♪ 178 00:07:34,601 --> 00:07:35,769 ♪That Magnolia ♪ 179 00:07:35,853 --> 00:07:36,729 ♪Buck jump time ♪ 180 00:07:36,812 --> 00:07:37,771 ♪St. Thomas ♪ 181 00:07:37,855 --> 00:07:38,689 ♪Buck jump time ♪ 182 00:07:39,273 --> 00:07:41,608 [male] When I did "Buck Jump"-- Let me explain this to you. 183 00:07:41,692 --> 00:07:43,902 The thing about New Orleans that's so different... 184 00:07:43,986 --> 00:07:47,614 You know how some people will claim the Eastside or the Westside? 185 00:07:47,698 --> 00:07:49,158 They claim "wards" down here. 186 00:07:49,533 --> 00:07:50,951 Third Ward, Fourth Ward, 187 00:07:51,035 --> 00:07:52,953 Fifth Ward, Sixth Ward, Seventh Ward, Eighth Ward. 188 00:07:53,037 --> 00:07:55,164 I took the chance. I'm like, "You know what? 189 00:07:55,247 --> 00:07:58,459 I'm gonna talk about every project and every ward in New Orleans, 190 00:07:59,043 --> 00:08:02,379 and I'm gonna make these motherfuckers lose their motherfucking mind 191 00:08:02,463 --> 00:08:04,506 by claiming their goddamn wards." 192 00:08:04,590 --> 00:08:06,258 ♪Uptown, Third Ward, That Caliope ♪ 193 00:08:06,342 --> 00:08:08,886 ♪Melpomene, Magnolia, The Home Of Dope ♪ 194 00:08:08,969 --> 00:08:11,555 ♪St. Thomas, Lafitte, The Iberville? hard ♪ 195 00:08:11,638 --> 00:08:13,182 ♪And that Seventh Ward St. Bernard ♪ 196 00:08:13,265 --> 00:08:16,268 The song was huge, but every time I played the song, 197 00:08:17,311 --> 00:08:18,354 a fight would start. 198 00:08:18,437 --> 00:08:21,815 "Buck jump time! That Caliope. Buck jump time! That--" 199 00:08:21,899 --> 00:08:24,360 And the next minute, boom, everybody would be fighting. 200 00:08:24,443 --> 00:08:26,445 [Mannie Fresh] But, when you played this at a party, 201 00:08:26,528 --> 00:08:28,404 some preppy kids, they got off the dancefloor. 202 00:08:28,489 --> 00:08:30,199 They be like, "Nah, I'm not messing with that." 203 00:08:30,282 --> 00:08:31,867 Like, when that played, fights. 204 00:08:31,950 --> 00:08:33,159 [laughs] 205 00:08:33,243 --> 00:08:34,620 It's like a war call. 206 00:08:35,204 --> 00:08:36,538 When this record comes on, 207 00:08:36,622 --> 00:08:38,499 anybody that you have a problem with, 208 00:08:38,957 --> 00:08:41,377 when that song comes on, that's the cue to go looking for him. 209 00:08:41,460 --> 00:08:43,212 "Now, we 'bout to handle this right now." 210 00:08:43,712 --> 00:08:45,798 ♪That Third Ward kicking it? Hell yeah! ♪ 211 00:08:45,881 --> 00:08:47,883 ♪That Fifth Ward kicking it? Hell yeah! ♪ 212 00:08:47,966 --> 00:08:49,885 ♪That Seventh Ward kicking it? Hell yeah! ♪ 213 00:08:49,968 --> 00:08:51,553 ♪That Eighth Ward kicking it Hell yeah! ♪ 214 00:08:51,637 --> 00:08:54,556 They used to go off, man. This ward's going against this ward. 215 00:08:54,640 --> 00:08:56,058 This ward's going against that ward. 216 00:08:56,141 --> 00:08:57,935 We did the record for togetherness. 217 00:08:58,018 --> 00:09:00,270 [laughing] 218 00:09:00,354 --> 00:09:02,314 But, we opened up a door 219 00:09:02,773 --> 00:09:06,402 that everybody saw that, "You know what? this shit can happen down here." 220 00:09:08,779 --> 00:09:11,657 [narrator] "Buck Jump Time" was a breakthrough for NOLA's hip-hop scene, 221 00:09:11,782 --> 00:09:13,909 bridging the gap between New York-style hip-hop 222 00:09:13,992 --> 00:09:16,495 and New Orleans' traditional rhythms and chants. 223 00:09:16,578 --> 00:09:19,873 That was a logical evolution for hip-hop in The Crescent City, 224 00:09:19,957 --> 00:09:21,875 [xylophone plays] 225 00:09:21,959 --> 00:09:24,670 But, sometimes hip-hop grows in unexpected ways, 226 00:09:25,087 --> 00:09:25,921 and for NOLA, 227 00:09:26,004 --> 00:09:28,465 serendipity would come in the form of an unknown record 228 00:09:28,590 --> 00:09:30,634 from an unsung rap group. 229 00:09:31,009 --> 00:09:33,011 [hip-hop beats playing] 230 00:09:36,390 --> 00:09:38,976 "Triggerman" was just this popular song 231 00:09:39,351 --> 00:09:41,520 that I started spinning. 232 00:09:41,603 --> 00:09:42,729 It was from New York. 233 00:09:42,813 --> 00:09:44,398 A shoutout to The Showboys. 234 00:09:44,648 --> 00:09:47,109 The real name of the song was "Drag Rap," 235 00:09:47,192 --> 00:09:48,694 but we started calling it "Triggerman" 236 00:09:48,777 --> 00:09:50,529 because there's one of the parts in the song 237 00:09:50,612 --> 00:09:52,364 where he says something about "Triggerman." 238 00:09:52,448 --> 00:09:55,075 ♪Bugs can can And filthy Triggerman ♪ 239 00:09:56,452 --> 00:09:59,705 The drums was hard, and it had these crazy breaks 240 00:09:59,788 --> 00:10:00,998 where the snares went... 241 00:10:01,081 --> 00:10:05,294 [mimicking drums] 242 00:10:05,377 --> 00:10:08,255 Then, it would break down into this cool 808 beat. 243 00:10:08,338 --> 00:10:10,716 [hip-hop beats playing] 244 00:10:15,971 --> 00:10:17,931 [Mannie Fresh] This pivotal beat changes the city. 245 00:10:18,015 --> 00:10:20,601 Everybody is jamming to it, but there's no words to it. 246 00:10:20,684 --> 00:10:23,270 My dad is still DJing, right? 247 00:10:23,395 --> 00:10:24,646 My dad was like, 248 00:10:24,730 --> 00:10:28,400 "Hey, there's this dude, T.T. Tucker, and DJ Irv. 249 00:10:28,484 --> 00:10:30,986 They'll come to these little spots that I'm doing, 250 00:10:31,069 --> 00:10:32,946 holes in the wall, and I'll just let them rock. 251 00:10:33,030 --> 00:10:35,699 They jamming off some of the beats that, you know, like, you playing." 252 00:10:35,782 --> 00:10:37,784 [hip-hop beats playing] 253 00:10:38,619 --> 00:10:39,786 [male] At Ghost Town club, 254 00:10:39,870 --> 00:10:42,664 DJ Irv is just doing cuts over "Triggerman," 255 00:10:42,789 --> 00:10:44,833 and Tucker just gets up there and starts chanting, 256 00:10:44,917 --> 00:10:47,211 "Where Dey At? Where Dey At? Where Dey At?" 257 00:10:47,294 --> 00:10:48,712 And, it was just chants, 258 00:10:48,795 --> 00:10:49,796 call and response. 259 00:10:49,880 --> 00:10:51,507 Whenever that record came on, 260 00:10:51,632 --> 00:10:54,801 the "Where Dey Ats," you knew, this is the Seventh Ward, where they at. 261 00:10:54,885 --> 00:10:57,513 You throw up the sevens, you know, "Where Dey At? 262 00:10:57,638 --> 00:11:00,807 You know, that started the whole movement in New Orleans. 263 00:11:00,891 --> 00:11:03,852 It was recorded horrible, trashy sounding, 264 00:11:03,936 --> 00:11:06,688 but it was just so in your face. 265 00:11:06,772 --> 00:11:10,317 What I didn't know was this was the start of bounce music. 266 00:11:10,400 --> 00:11:12,319 [bounce music playing] 267 00:11:12,402 --> 00:11:15,822 [narrator] DJ Irv's "Where Dey At?" was a lo-fi underground smash 268 00:11:15,906 --> 00:11:18,825 that introduced NOLA to the infectious "Triggerman" sample, 269 00:11:19,409 --> 00:11:21,620 and the city couldn't get enough of it. 270 00:11:21,703 --> 00:11:24,748 Because, somewhere between the booming 808s and staccato percussion, 271 00:11:25,249 --> 00:11:27,376 the city found more than a special record. 272 00:11:27,459 --> 00:11:29,294 They found bounce music. 273 00:11:29,378 --> 00:11:31,171 ♪Start this shit off right ♪ 274 00:11:31,547 --> 00:11:33,840 ♪We got New Orleans in the house tonight ♪ 275 00:11:34,508 --> 00:11:36,093 [bounce music playing] 276 00:11:37,302 --> 00:11:38,220 [interviewer] Yes, sir. 277 00:11:38,303 --> 00:11:39,304 [male laughing] 278 00:11:39,388 --> 00:11:40,889 [male] Hey, what's up, man? What's up? 279 00:11:42,182 --> 00:11:44,560 [interviewer] Obviously, "Triggerman" was an important record 280 00:11:44,643 --> 00:11:45,978 for the evolution of bounce music. 281 00:11:46,061 --> 00:11:48,730 What did you think when you first heard that record? 282 00:11:48,814 --> 00:11:53,068 Well, we always kind of had it in rotation, playing here. 283 00:11:53,819 --> 00:11:54,861 I was the DJ. 284 00:11:54,945 --> 00:11:56,822 It was really nothing but "Triggerman." 285 00:11:56,905 --> 00:12:00,826 It was hours and hours of nothing but that one loop. 286 00:12:01,326 --> 00:12:04,329 And how did you hone your skills as far as getting on the mic 287 00:12:04,413 --> 00:12:06,790 and getting the crowd participation? 288 00:12:06,873 --> 00:12:08,834 The girls who would come and used to... 289 00:12:08,917 --> 00:12:12,379 You could win $500 for a pussy pop contest. 290 00:12:12,462 --> 00:12:13,922 [laughing] Believe it or not. 291 00:12:14,006 --> 00:12:17,551 When I got up on the mic, I'd just say anything to make you move. 292 00:12:17,634 --> 00:12:19,469 Ask you where you from, where you at, 293 00:12:19,553 --> 00:12:22,306 tell a ho to put her back down, you know. 294 00:12:22,389 --> 00:12:24,683 [DJ Jimi rapping] ♪Where they at girl? Uh, where they at girl? ♪ 295 00:12:24,766 --> 00:12:27,185 ♪Uh, where they at girl? Uh, where they at girl? ♪ 296 00:12:27,269 --> 00:12:29,980 ♪Uh, where they at girl? Uh, where they at girl? ♪ 297 00:12:30,063 --> 00:12:32,149 ♪Uh, where they at girl? Uh, where they at girl? ♪ 298 00:12:32,232 --> 00:12:36,570 What I was trying to express was that this music here made everybody dance. 299 00:12:36,653 --> 00:12:39,573 I'm just feeling what we were doing in these places. 300 00:12:39,948 --> 00:12:41,783 [interviewer] That song, it was just so popular. 301 00:12:41,867 --> 00:12:44,119 Beyond New Orleans, too. It was on Billboard, right? 302 00:12:44,202 --> 00:12:45,787 [DJ Jimi] First six weeks, it went gold. 303 00:12:45,871 --> 00:12:48,206 If you didn't play this record on your radio station, 304 00:12:48,290 --> 00:12:49,458 you probably wasn't listening. 305 00:12:49,541 --> 00:12:50,751 They had to play it. 306 00:12:50,834 --> 00:12:53,462 ♪ Do it baby, stick it baby Do it baby, stick it baby ♪ 307 00:12:53,545 --> 00:12:55,881 ♪Do it baby, stick it Stick it baby do it ♪ 308 00:12:55,964 --> 00:12:58,175 ♪i> Uh, shake that body like a salt shaker ♪ 309 00:12:58,258 --> 00:13:00,344 ♪i> Shake, shake that body like a salt shaker ♪ 310 00:13:00,427 --> 00:13:02,888 ♪i> Shake, shake that body like a salt shaker ♪ 311 00:13:03,305 --> 00:13:05,390 ♪i> Shake, shake that body like a salt shaker ♪ 312 00:13:05,474 --> 00:13:07,267 [Charlie] DJ Jimi is the king of bounce. 313 00:13:07,351 --> 00:13:10,020 I mean, it sort of starts with him, in my opinion. 314 00:13:10,354 --> 00:13:13,607 [Charlie] When you think about all the great bounce musicians, 315 00:13:13,815 --> 00:13:16,443 most of them revolved around Jimi in some way. 316 00:13:16,777 --> 00:13:19,404 I don't know who originally started it, 317 00:13:19,488 --> 00:13:23,325 but DJ Jimi made bounce famous. 318 00:13:23,408 --> 00:13:27,829 It was the first bounce record that left from the city to somewhere else. 319 00:13:27,913 --> 00:13:30,165 ♪Shake, shake, shake that body girl ♪ 320 00:13:30,248 --> 00:13:31,416 ♪Well alright ♪ 321 00:13:31,500 --> 00:13:33,710 ♪It must be yo stamps 'Cause it ain? yo face ♪ 322 00:13:33,794 --> 00:13:35,712 [DJ Jubilee] DJ Jimi changed the whole scene, man. 323 00:13:35,796 --> 00:13:38,340 He sold a lot of albums, and he opened up the doors. 324 00:13:38,423 --> 00:13:40,092 That's when we knew he had our sound. 325 00:13:40,175 --> 00:13:42,803 -And that inspired you? -[DJ Jubilee] That definitely inspired me. 326 00:13:42,886 --> 00:13:45,097 When I put out "Do The Jubilee All," in 1993, 327 00:13:45,180 --> 00:13:48,141 I did not know that it was gonna fly that way. 328 00:13:48,517 --> 00:13:50,936 [DJ Jubilee singing "Jubilee All"] ♪Do the Jubilee All ♪ 329 00:13:51,019 --> 00:13:53,563 ♪Do the Jubi, do the Jubi Do the Jubilee All ♪ 330 00:13:53,647 --> 00:13:56,066 ♪Do the Jubilee All Do the Jubilee All ♪ 331 00:13:56,149 --> 00:13:58,443 ♪Do the Jubi, do the Jubi Do the Jubilee All ♪ 332 00:13:59,277 --> 00:14:01,154 [Mannie Fresh] DJ Jubilee comes out with it. 333 00:14:01,238 --> 00:14:02,948 Same song. Identical. 334 00:14:03,031 --> 00:14:04,449 Which is cool in bounce. 335 00:14:04,533 --> 00:14:06,410 If you don't understand it, you're like, 336 00:14:06,493 --> 00:14:08,912 "Well, why does everything have the same damn beat? 337 00:14:08,995 --> 00:14:09,830 [laughing] 338 00:14:09,913 --> 00:14:11,248 "Didn't that song just go off?" 339 00:14:11,331 --> 00:14:13,542 And, you know, but, that's just the way it is. 340 00:14:13,625 --> 00:14:15,794 This city just takes something and runs with it. 341 00:14:15,877 --> 00:14:18,964 [DJ Jubilee] My style came different, because I was the only one really dancing. 342 00:14:19,047 --> 00:14:21,550 I used to DJ at high school, and we started doing dances, 343 00:14:21,633 --> 00:14:22,634 and challenges and stuff. 344 00:14:22,718 --> 00:14:24,845 I came up with the first dance, "Do The Jubilee." 345 00:14:24,928 --> 00:14:26,722 I was sliding side to side, "Do The Jubilee." 346 00:14:26,805 --> 00:14:29,975 Then, the next week, somebody came with another dance, the "Beanie Weenie." 347 00:14:30,058 --> 00:14:32,144 Every week, we had a new, different dance. 348 00:14:32,227 --> 00:14:34,229 So, now I got the hottest dance in the city. 349 00:14:34,312 --> 00:14:36,148 I started getting smart, I'm like, 350 00:14:36,231 --> 00:14:37,566 "Hold up, we got all these dances, 351 00:14:37,649 --> 00:14:39,401 and everybody doing so many different dances, 352 00:14:39,484 --> 00:14:40,485 let me put it on a song." 353 00:14:40,569 --> 00:14:42,821 ♪I do the KC, I do the KC ♪ 354 00:14:42,904 --> 00:14:45,615 ♪I do the K, do the K, do the KC ♪ 355 00:14:45,699 --> 00:14:47,576 ♪Stop, pause ♪ 356 00:14:47,659 --> 00:14:50,954 ♪If you got to be real... ♪ 357 00:14:53,415 --> 00:14:56,543 [Big Freedia] Every song that he made, he made you dance with the song. 358 00:14:56,626 --> 00:14:58,170 It was like Simon Says. 359 00:14:58,253 --> 00:15:00,255 Jubilee was our Simon Says of the bounce, 360 00:15:00,338 --> 00:15:02,132 and if he said "Do the beanie weenie," 361 00:15:02,257 --> 00:15:04,259 you backing it up and doing the beanie weenie. 362 00:15:04,342 --> 00:15:07,137 If he said "Do the Eldon DeLloyd," you do the Eldon DeLloyd. 363 00:15:07,763 --> 00:15:10,932 They used to have girls flipping, you know, hands on the ground, 364 00:15:11,308 --> 00:15:13,310 and their feet on the wall and, like, twerking. 365 00:15:13,393 --> 00:15:16,146 And I'm like, "Holy shit. I wanna do that." 366 00:15:16,438 --> 00:15:18,106 [interviewer] Many people say that's the first time 367 00:15:18,190 --> 00:15:19,399 they heard "twerk" on a record. 368 00:15:19,483 --> 00:15:21,526 [DJ Jubilee] The girl's shaking it in front of us, right? 369 00:15:21,610 --> 00:15:23,820 They took the word "work," and put a "T" on it, saying, 370 00:15:23,904 --> 00:15:24,780 "They be twerking it!" 371 00:15:24,863 --> 00:15:26,656 That's how we joke. "Twerking it." 372 00:15:26,740 --> 00:15:29,284 That's another signature of New Orleans. You gotta deal with it. 373 00:15:29,367 --> 00:15:31,912 ♪Shake baby, shake baby, shake, shake, shake baby ♪ 374 00:15:31,995 --> 00:15:33,872 ♪Shake baby, shake, shake, shake ♪ 375 00:15:34,581 --> 00:15:36,958 ♪Twerk baby, twerk baby twerk, twerk, twerk baby ♪ 376 00:15:37,042 --> 00:15:38,418 ♪Twerk baby, twerk, twerk, twerk ♪ 377 00:15:39,753 --> 00:15:42,172 [DJ Jubiee] Back then, when we started twerking it, it was new. 378 00:15:42,255 --> 00:15:45,050 [DJ Jubiee] We done shook on top of rooftops, cars, taxis, buses. 379 00:15:45,133 --> 00:15:47,302 [DJ Jubiee] We shook it at second line funerals. 380 00:15:47,385 --> 00:15:49,054 We the best twerkers in the country. 381 00:15:49,137 --> 00:15:52,349 If you wanna see some real shaking going on, shaking is in New Orleans. 382 00:15:52,432 --> 00:15:54,810 ♪Shake it like a dog, Shake like it a dog, woof, woof ♪ 383 00:15:54,893 --> 00:15:57,312 ♪Shake it like a dog, Shake it like a dog, woof ♪ 384 00:15:57,395 --> 00:15:59,397 ♪Shake it like a dog, Shake it like a dog ♪ 385 00:15:59,481 --> 00:16:01,358 ♪Shake it, shake it, shake it ♪ 386 00:16:01,441 --> 00:16:03,735 [Katey Red] It's music, I guess you can just have fun with. 387 00:16:03,819 --> 00:16:05,737 And, like, growing up in New Orleans, 388 00:16:05,821 --> 00:16:07,781 you hear the music, you know, coming up as a child, 389 00:16:07,864 --> 00:16:10,367 like, one, two, three years old, like, your parents gonna try to, 390 00:16:10,492 --> 00:16:12,118 "You better do it! Bend over! Shake!" 391 00:16:12,202 --> 00:16:13,912 You know, they, like, teach you how to do it. 392 00:16:14,788 --> 00:16:17,791 [female] You know, you play, like "Triggerman," the DJ hollering, 393 00:16:17,874 --> 00:16:19,292 "Okay, everybody get on the wall." 394 00:16:19,376 --> 00:16:20,544 You know, you get on the wall. 395 00:16:20,627 --> 00:16:21,795 "Get on the table," you know. 396 00:16:21,878 --> 00:16:23,797 "Get on the chair. Raise your leg up in the air." 397 00:16:24,297 --> 00:16:26,466 "Bend over, touch, put that hump in your back." 398 00:16:26,550 --> 00:16:29,219 You know, if you don't feel it when the music playing, 399 00:16:29,302 --> 00:16:30,303 you'll never get it. 400 00:16:30,387 --> 00:16:32,347 ♪I watch ya slide Giddy up, giddy up ♪ 401 00:16:32,430 --> 00:16:34,891 ♪I do the duck Do the duck, do the duck ♪ 402 00:16:34,975 --> 00:16:37,310 ♪I watch ya slide Giddy up, giddy up ♪ 403 00:16:37,394 --> 00:16:39,396 ♪I do the duck Do the duck, do the duck ♪ 404 00:16:39,688 --> 00:16:43,358 [Mia X] First, it was Jimi, then it was Jubilee, then it was me. 405 00:16:43,441 --> 00:16:45,569 I was one of the first girls to put a bounce record out. 406 00:16:45,652 --> 00:16:47,445 I just didn't like what the boys were saying. 407 00:16:47,529 --> 00:16:50,282 You know, "Suck a nigga dick" and this. 408 00:16:50,365 --> 00:16:52,075 So, once I didn't like what they were saying, 409 00:16:52,158 --> 00:16:54,828 and the other girls agreed that they didn't like what they was sayin', 410 00:16:54,911 --> 00:16:56,288 and they put their two cents in it, 411 00:16:56,371 --> 00:16:59,791 and before you know it, as a guy would drop, a girl would drop. 412 00:17:00,417 --> 00:17:05,005 [Charles] Bounce was the dominant form of hip-hop in New Orleans. 413 00:17:05,546 --> 00:17:07,549 If you weren't doing bounce, 414 00:17:07,841 --> 00:17:09,634 you had a hard time, you know, 415 00:17:09,717 --> 00:17:11,844 finding a big, mass audience in this city. 416 00:17:11,928 --> 00:17:12,888 It was... 417 00:17:13,138 --> 00:17:14,805 It was that powerful. 418 00:17:14,890 --> 00:17:18,435 [KLC] It was to a point where it didn't matter who was on the record, 419 00:17:18,517 --> 00:17:22,564 that "Triggerman" beat alone gave you an advantage to rock the crowd. 420 00:17:22,981 --> 00:17:25,984 All you had to do was just say the right shit, and don't fuck up. 421 00:17:27,193 --> 00:17:30,447 [male] Bounce music became our own thing because we started feeling like, 422 00:17:30,655 --> 00:17:32,532 "We don't care what the rest of the world doing, 423 00:17:32,616 --> 00:17:33,658 we're gonna do what we do." 424 00:17:33,742 --> 00:17:35,952 We didn't care how big you were in the world. 425 00:17:36,036 --> 00:17:37,787 When you come to our city, it's us. 426 00:17:37,871 --> 00:17:39,956 We were just as big, bigger than you. 427 00:17:40,040 --> 00:17:42,250 We were cocky, man. [laughing] 428 00:17:42,375 --> 00:17:43,627 Super cocky. 429 00:17:44,294 --> 00:17:47,881 [Big Freedia] It's something that people can get into, and have fun, 430 00:17:47,964 --> 00:17:50,300 and not think about their problems at the time. 431 00:17:50,383 --> 00:17:53,637 This is the music that we make through our everyday struggle. 432 00:17:54,137 --> 00:17:56,139 [hip-hop beats playing] 433 00:17:56,598 --> 00:17:59,225 [narrator] The energetic, party-oriented tempo of bounce 434 00:17:59,309 --> 00:18:01,061 gave NOLA a signature sound 435 00:18:01,269 --> 00:18:04,606 that was rooted in the city's rich jazz and second line tradition. 436 00:18:05,231 --> 00:18:07,317 It also gave the city a release... 437 00:18:08,652 --> 00:18:10,236 [hip-hop beats playing] 438 00:18:10,320 --> 00:18:11,571 ...because, throughout the '90s, 439 00:18:11,655 --> 00:18:14,824 the reality of black life in New Orleans was entirely different. 440 00:18:14,908 --> 00:18:17,202 NOLA was besieged by drugs and violence, 441 00:18:17,702 --> 00:18:19,955 with the highest homicide rates in America. 442 00:18:20,580 --> 00:18:22,540 This was the other side of New Orleans, 443 00:18:23,124 --> 00:18:24,834 but you wouldn't find it on a bounce record. 444 00:18:25,502 --> 00:18:27,212 NOLA needed a different outlet, 445 00:18:27,295 --> 00:18:29,673 and it would be a shrewd hustler from NOLA's Third Ward 446 00:18:29,756 --> 00:18:31,424 who would bring this reality to the world. 447 00:18:32,008 --> 00:18:34,010 [hip-hop music playing] 448 00:18:37,931 --> 00:18:40,475 [Master P] These little kids ain't even five or six years old. 449 00:18:40,558 --> 00:18:43,436 They done seen murders right there, on the spot. 450 00:18:44,020 --> 00:18:46,648 You know, I seen a murder at four years old right here. 451 00:18:47,482 --> 00:18:50,068 [Master P] I grew up in Third Ward, Caliope Projects. 452 00:18:50,235 --> 00:18:51,152 At the time, 453 00:18:51,236 --> 00:18:53,571 it was one of the most dangerous places in the world to live. 454 00:18:53,655 --> 00:18:55,949 Most of the crimes that happened in New Orleans, 455 00:18:56,533 --> 00:18:59,577 probably half of it happened in the Caliope Projects. 456 00:18:59,661 --> 00:19:00,954 This is for real. 457 00:19:02,372 --> 00:19:05,834 [male] The City of New Orleans and the hoods been at war since we were kids. 458 00:19:05,917 --> 00:19:08,253 Yeah, I was in the military, I went to Desert Storm. 459 00:19:09,212 --> 00:19:10,422 What was the difference? 460 00:19:10,755 --> 00:19:12,924 Only thing, they just had bigger guns and missiles. 461 00:19:15,885 --> 00:19:18,346 [reporter] New Orleans has a record of homicides this year. 462 00:19:18,430 --> 00:19:21,224 It has by far the highest murder rate of any big city in the nation. 463 00:19:21,850 --> 00:19:24,602 Five times the number of murders in cities of comparable size. 464 00:19:26,312 --> 00:19:28,023 [Master P] You know, me and brother Kevin, 465 00:19:28,106 --> 00:19:30,108 we used to sit in the projects and say, 466 00:19:30,316 --> 00:19:31,651 "Who gonna die first?" 467 00:19:32,360 --> 00:19:35,030 If you lived to be 19, you a OG in the projects. 468 00:19:35,113 --> 00:19:38,116 That was our magic number, man. If we could live to be 19, 469 00:19:38,950 --> 00:19:40,243 you know, we'd made it. 470 00:19:41,036 --> 00:19:43,538 And, I mean, he died at that age. 471 00:19:43,621 --> 00:19:48,126 And, that just-- that tore something out of my heart. 472 00:19:49,085 --> 00:19:50,545 You know, when I watched my mom, 473 00:19:50,628 --> 00:19:52,630 her whole world turned upside down, 474 00:19:52,714 --> 00:19:55,383 and I'm like, "I don't wanna keep putting her through this. 475 00:19:56,092 --> 00:19:58,303 I have to do something better with my life." 476 00:19:58,386 --> 00:20:00,680 That's what really made me go hard with the music. 477 00:20:01,181 --> 00:20:03,058 You know, I named my company "No Limit," 478 00:20:03,141 --> 00:20:04,976 because there's gonna be no limit to my success, 479 00:20:05,060 --> 00:20:06,686 and I named myself "Master P" 480 00:20:06,770 --> 00:20:08,646 because I said I'm gonna master whatever I do. 481 00:20:08,730 --> 00:20:10,607 I was listening to Ice-T, "Colors." 482 00:20:10,690 --> 00:20:13,318 "I am a nightmare walking, psychopath talking." 483 00:20:13,818 --> 00:20:15,528 That music did something for me. 484 00:20:15,612 --> 00:20:18,531 You know, hearing the bounce music, it was a lot of party music, 485 00:20:18,615 --> 00:20:20,241 which was a good sound for New Orleans, 486 00:20:20,784 --> 00:20:23,119 but I felt like we were missing something, you know? 487 00:20:23,203 --> 00:20:25,246 Seeing so many people die young, 488 00:20:25,330 --> 00:20:27,499 seeing the crime, seeing the poverty. 489 00:20:27,582 --> 00:20:29,459 You know, it just poured out of me. 490 00:20:29,667 --> 00:20:31,044 I was able to tell my story. 491 00:20:31,127 --> 00:20:33,088 [Master P] I'm just talking about what I see. 492 00:20:33,213 --> 00:20:34,422 I mean, look around. 493 00:20:34,506 --> 00:20:36,466 You see a bunch of mansions around here? 494 00:20:37,175 --> 00:20:38,510 -Do you? -No. 495 00:20:38,593 --> 00:20:40,887 Okay. Well, that's reality. 496 00:20:40,970 --> 00:20:42,555 That's what I'm talking about. 497 00:20:42,639 --> 00:20:44,766 ♪Grew up in the ghetto, raised by a killa ♪ 498 00:20:44,849 --> 00:20:46,476 ♪TRU across my stomach ♪ 499 00:20:46,559 --> 00:20:49,312 ♪Your neighborhood thug nigga trying to make it ♪ 500 00:20:49,395 --> 00:20:51,439 ♪Out this fucked up environment ♪ 501 00:20:52,023 --> 00:20:54,859 ♪Where niggas die trying to make a dollar out of 15 cent ♪ 502 00:20:54,943 --> 00:20:57,987 ♪The ghetto got me crazy I smell daisies ♪ 503 00:20:58,071 --> 00:21:01,366 ♪But I can? die tonight my old lady pregnant with a baby ♪ 504 00:21:01,449 --> 00:21:02,283 ♪Tupac said... ♪ 505 00:21:02,367 --> 00:21:04,452 [Master P] I built No Limit on $10,000. 506 00:21:04,702 --> 00:21:06,913 I put up my own posters. I went to every hood. 507 00:21:07,539 --> 00:21:10,625 I started taking my van, and going from hood to hood, 508 00:21:10,708 --> 00:21:11,960 selling my CDs. 509 00:21:12,043 --> 00:21:13,419 That's the whole thing. 510 00:21:13,503 --> 00:21:15,505 I started selling it out of the trunk. 511 00:21:16,589 --> 00:21:18,967 I mean, we would be in DC, and here's the thing, 512 00:21:19,050 --> 00:21:20,677 we weren't supposed to be in DC. 513 00:21:20,760 --> 00:21:23,096 That's like somebody going into Compton or whatever. 514 00:21:23,638 --> 00:21:26,850 We were just so about hustling, we didn't care about the dangers. 515 00:21:27,016 --> 00:21:28,476 It's all we have, so we here. 516 00:21:28,560 --> 00:21:29,644 And people were like, 517 00:21:29,727 --> 00:21:31,604 "Y'all crazy enough to come in the neighborhood, 518 00:21:31,688 --> 00:21:32,856 you know what? Gimme the CD." 519 00:21:32,939 --> 00:21:35,525 ♪So when I die put me in a pine box ♪ 520 00:21:35,608 --> 00:21:38,611 ♪Bury me like a G, 2 glocks And a fuckin♪bag of rocks ♪ 521 00:21:38,695 --> 00:21:41,239 [Gregory D] No Limit, that wasn't no, you know, no bounce shit. 522 00:21:41,322 --> 00:21:43,366 You could hear a hard life in that music, 523 00:21:43,449 --> 00:21:45,702 but that's the way of life in New Orleans. 524 00:21:45,785 --> 00:21:46,786 We gutter. 525 00:21:46,870 --> 00:21:49,122 We gutter, bro. We gutter. We so goddamn gutter. 526 00:21:49,205 --> 00:21:52,417 And the street cats, they wanna hear what they can relate to. 527 00:21:52,500 --> 00:21:56,087 ♪Take me Lord tell me Is there a heaven for a gangsta? ♪ 528 00:21:56,171 --> 00:21:58,173 ♪Gangsta, gangsta ♪ 529 00:21:59,507 --> 00:22:01,342 [Ricky B] Master P, when he hit the scene, 530 00:22:01,426 --> 00:22:02,969 everybody was like, "Okay," 531 00:22:03,178 --> 00:22:05,513 but it wasn't that New Orleans sound. 532 00:22:05,597 --> 00:22:08,516 So, we had to kind of learn, 533 00:22:08,600 --> 00:22:10,810 "Okay, what's going on with No Limit?" 534 00:22:10,894 --> 00:22:14,272 [female] A lot of people didn't like his music in the beginning, right? 535 00:22:14,355 --> 00:22:17,150 Bitches all used to be throwing that man's fucking CDs back at him. 536 00:22:17,525 --> 00:22:18,401 I remember that. 537 00:22:18,484 --> 00:22:21,821 It seemed when Master P started dominating outskirts, 538 00:22:22,447 --> 00:22:23,448 then New Orleans was like, 539 00:22:23,531 --> 00:22:24,407 "Master P!" 540 00:22:24,490 --> 00:22:26,576 New Orleans is, like, an ass-kissing city. 541 00:22:27,035 --> 00:22:29,162 They gonna like you after the fact. 542 00:22:29,245 --> 00:22:33,249 I remember buying a CD and a cassette from Percy Miller 543 00:22:34,125 --> 00:22:36,211 before I knew him or even worked with him, 544 00:22:36,294 --> 00:22:37,295 because I felt like, 545 00:22:37,795 --> 00:22:40,465 "I'm gonna support this dude, man. He out here selling his own stuff." 546 00:22:40,548 --> 00:22:43,134 I'll never forget this, because he had his socks way up to here, 547 00:22:43,218 --> 00:22:46,387 and I'm like, "Man, what's this dude doing with his socks way up to here?" 548 00:22:46,471 --> 00:22:47,764 I'm not clowning him, 549 00:22:47,847 --> 00:22:51,309 I'm just saying that he was confident in who he was, 550 00:22:51,392 --> 00:22:52,810 and I just thought that was dope. 551 00:22:53,311 --> 00:22:55,396 I was different, you know. 552 00:22:55,480 --> 00:22:57,857 It might give you a slow start, 553 00:22:57,941 --> 00:23:01,569 but being different is going to carry you a long way. 554 00:23:01,653 --> 00:23:03,238 [Master P] We got a whole different plan. 555 00:23:03,321 --> 00:23:07,283 They can't stop us, because, eventually, we gonna leak in. 556 00:23:08,243 --> 00:23:10,662 P wanted to be respected as a major label, 557 00:23:10,745 --> 00:23:12,914 which meant that you had to put out more records. 558 00:23:13,414 --> 00:23:15,166 He scoured the city, 559 00:23:15,541 --> 00:23:18,086 and he did what I like to call "corporate raiding." 560 00:23:18,461 --> 00:23:21,506 He raided every label 561 00:23:21,673 --> 00:23:23,174 and got their top artists. 562 00:23:23,883 --> 00:23:27,470 [Mia X] Master P came to my house, and he just explained to me 563 00:23:28,012 --> 00:23:30,848 what his plans were for No Limit. 564 00:23:30,932 --> 00:23:31,766 And, he was like, 565 00:23:31,849 --> 00:23:33,768 "It's an independent label, 566 00:23:33,851 --> 00:23:36,437 but they're gonna look at it like a major label. 567 00:23:36,521 --> 00:23:37,814 I'm gonna make history, 568 00:23:37,897 --> 00:23:40,316 and it's gonna be big, 569 00:23:40,900 --> 00:23:42,860 and I want you to be a part of it." 570 00:23:42,944 --> 00:23:46,739 It was something about the way he said it, I could feel it. 571 00:23:46,906 --> 00:23:49,993 I knew that he was gonna do what he said he was gonna do. 572 00:23:50,076 --> 00:23:53,663 In the house with my No Limit soldiers, and, you know what, we timeless. 573 00:23:53,913 --> 00:23:56,457 'Bout to represent that Third Ward to the world. 574 00:23:56,541 --> 00:23:57,709 And you know who we is? 575 00:23:57,834 --> 00:24:02,422 We No Limit Soldiers. I thought I told ya... 576 00:24:02,588 --> 00:24:04,757 [KLC] P got the greatest MCs from the city. 577 00:24:04,841 --> 00:24:07,427 He had Mystikal, Soulja Slim. 578 00:24:07,510 --> 00:24:08,803 Everybody came there. 579 00:24:08,928 --> 00:24:11,431 It was just, like, open house to whoever wanna rap, 580 00:24:12,056 --> 00:24:14,309 and then you had five people doing beats for you. 581 00:24:14,392 --> 00:24:15,393 Beats By The Pound. 582 00:24:15,476 --> 00:24:18,604 So, as soon as he finished a song, we pulling up the next. 583 00:24:18,855 --> 00:24:19,897 Relentless hustle. 584 00:24:20,398 --> 00:24:22,567 No Limit was like a big-ass freestyle. 585 00:24:23,151 --> 00:24:25,028 P fed off of everybody. 586 00:24:25,611 --> 00:24:27,363 This is how it all formed 587 00:24:27,447 --> 00:24:29,073 for No Limit to become what it is. 588 00:24:29,532 --> 00:24:32,869 All of us being together in the studio, 24/7, 589 00:24:33,661 --> 00:24:35,747 you know, songs were just cranking out of us. 590 00:24:35,872 --> 00:24:39,959 I felt like I had the best of the best for us making music. 591 00:24:40,126 --> 00:24:43,046 So, when I heard the beat for "Make 'Em Say Uhh!", 592 00:24:43,129 --> 00:24:46,841 I felt like I needed to put this city on the map. 593 00:24:47,842 --> 00:24:50,094 ♪I? the colonel of the gold and platinum tank ♪ 594 00:24:50,178 --> 00:24:53,014 ♪Y?ll after big thangs We after big bank ♪ 595 00:24:53,639 --> 00:24:55,641 ♪Third ward hustlas Soldiers in combat ♪ 596 00:24:55,725 --> 00:24:58,644 ♪Convicts and dealers And wheelers with TRU tats ♪ 597 00:24:58,728 --> 00:25:01,230 ♪Never gave no damn about No broads and no witches ♪ 598 00:25:01,314 --> 00:25:04,192 ♪And dudes come short And I? diggin' ditches ♪ 599 00:25:04,275 --> 00:25:06,527 ♪MP pulling stripes, Commander-in-chief ♪ 600 00:25:06,611 --> 00:25:08,404 [Fiend] "Make 'Em Say Uhh!", man. 601 00:25:08,488 --> 00:25:10,865 He turned around and said, "Look, this is gonna be a big song, 602 00:25:11,032 --> 00:25:12,241 a big-ass song, 603 00:25:12,492 --> 00:25:15,036 and everybody gonna wanna get on here. 604 00:25:15,870 --> 00:25:18,456 Whoever ready with their verse is getting on here, 605 00:25:18,915 --> 00:25:20,124 and that's gonna be the order." 606 00:25:20,208 --> 00:25:23,044 I remember writing on the wall, piece of paper, I was ready. 607 00:25:23,127 --> 00:25:24,879 "A'ight, Fiend, you go ahead," you know. 608 00:25:24,962 --> 00:25:26,506 He didn't ask to hear it. 609 00:25:26,589 --> 00:25:27,590 I went up in there, 610 00:25:27,673 --> 00:25:31,094 "Fiend exercising his right of exorcism, bustin' out the Expedition" 611 00:25:31,177 --> 00:25:33,721 ♪Bullets choppin' haters Business to about the size of prisms ♪ 612 00:25:33,805 --> 00:25:35,181 ♪Our mission They heard we scary, ♪ 613 00:25:35,264 --> 00:25:36,724 ♪No Limit mercenary ♪ 614 00:25:36,808 --> 00:25:39,268 ♪No tellin' how bad it get Because the worst'll vary ♪ 615 00:25:40,144 --> 00:25:42,522 [Fiend] No Limit Records, it was all these artists, producers, 616 00:25:42,605 --> 00:25:44,232 all sharing this type of energy, 617 00:25:44,315 --> 00:25:45,733 moving as one unit. 618 00:25:45,983 --> 00:25:48,736 And, it just became something to be reckoned with, man. 619 00:25:48,820 --> 00:25:51,864 ♪Make ?m say uhh, uhh ♪ 620 00:25:51,948 --> 00:25:54,325 ♪Na-nah na-nah, na-nah na-nah ♪ 621 00:25:54,409 --> 00:25:57,453 ♪Make ?m say uhh, uhh ♪ 622 00:25:57,537 --> 00:25:59,789 ♪Na-nah na-nah, na-nah na-nah ♪ 623 00:25:59,872 --> 00:26:02,333 [KLC] "Make 'Em Say Uhh!" was our first big mainstream record. 624 00:26:02,417 --> 00:26:05,461 That was the first record that went everywhere. 625 00:26:05,545 --> 00:26:07,463 You know, that was all your work, 626 00:26:07,588 --> 00:26:09,632 you know, everything that you put into this, 627 00:26:09,715 --> 00:26:11,300 here's your trophy for it. 628 00:26:11,384 --> 00:26:14,554 Y'all don't understand. 1998, we put out 26 albums. 629 00:26:14,887 --> 00:26:17,306 They were like, "How did y'all do this shit? 630 00:26:17,849 --> 00:26:19,559 How in the fuck y'all do it?" 631 00:26:19,642 --> 00:26:21,978 In '98, things were just going at a crazy pace. 632 00:26:22,061 --> 00:26:24,480 I'd imagine that time would be a bit of a blur, 633 00:26:24,564 --> 00:26:26,357 but what do you remember of the process? 634 00:26:27,024 --> 00:26:28,734 It was like a factory, you know. 635 00:26:29,360 --> 00:26:31,946 It was like a factory, but, we had fun doing it. 636 00:26:32,697 --> 00:26:34,073 Albums were getting done quick. 637 00:26:34,157 --> 00:26:35,616 You had five producers. 638 00:26:35,700 --> 00:26:38,202 I go to you, I don't even get time to listen to it. 639 00:26:38,286 --> 00:26:40,496 Now I go in the next room to him, 640 00:26:40,580 --> 00:26:43,374 and keep coming back around 'til my album was done. 641 00:26:43,458 --> 00:26:45,835 ♪We got the industry locked, We can? be stopped, too hot ♪ 642 00:26:45,918 --> 00:26:47,712 ♪Check the spots that we got, on Billboard ♪ 643 00:26:47,795 --> 00:26:49,172 ♪This tank can set up roadblocks ♪ 644 00:26:49,255 --> 00:26:50,840 ♪We fadin' all our foes Want some mo? ♪ 645 00:26:50,923 --> 00:26:55,678 [Mia X] I wrote and recorded 16 songs in 10 days, 646 00:26:55,845 --> 00:26:59,390 and it came out number two in the Top 200, 647 00:26:59,474 --> 00:27:02,310 and the only person that was on top of me was C矇line Dion. 648 00:27:02,393 --> 00:27:05,563 Now, how could you be mad at that? That's C矇line Dion! 649 00:27:05,646 --> 00:27:06,731 [Mia X laughing] 650 00:27:06,814 --> 00:27:08,858 You know, I remember going to KLC's house. 651 00:27:08,941 --> 00:27:14,113 The wall was five, six, seven times longer than this wall. 652 00:27:14,197 --> 00:27:16,699 They had plaques as far as you could see. 653 00:27:16,782 --> 00:27:18,784 The whole wall was filled with plaques. 654 00:27:19,452 --> 00:27:21,579 Them boys did more in a year 655 00:27:21,662 --> 00:27:25,583 than most record companies do in their whole tenure. 656 00:27:26,083 --> 00:27:28,169 I love all y'all niggas, for real. 657 00:27:28,336 --> 00:27:31,172 All you motherfuckers that kept it real with No Limit. 658 00:27:31,297 --> 00:27:33,674 I made my motherfucking money the right way. 659 00:27:33,966 --> 00:27:36,302 [Charles] This is the turning point for New Orleans music. 660 00:27:36,636 --> 00:27:39,889 P, as an independent, had a distribution deal 661 00:27:39,972 --> 00:27:43,267 which means that they are actually standalone labels 662 00:27:43,351 --> 00:27:45,937 that have total control of their own music, 663 00:27:46,020 --> 00:27:48,940 and they get the majority of the money. 664 00:27:49,023 --> 00:27:50,691 That's unheard of. 665 00:27:50,775 --> 00:27:54,987 They awakened a sleeping giant in Southern hip-hop, 666 00:27:55,404 --> 00:27:58,199 because labels looked at P and said, 667 00:27:58,282 --> 00:28:00,284 "If he can do it, we can do it." 668 00:28:00,826 --> 00:28:03,996 Me going up against the music industry independently, 669 00:28:04,497 --> 00:28:06,123 without having to sell your soul, 670 00:28:06,207 --> 00:28:09,919 and being an African-American kid from New Orleans is unheard of. 671 00:28:10,294 --> 00:28:11,420 Talk about hustle, 672 00:28:11,504 --> 00:28:13,005 I am the best hustler 673 00:28:13,464 --> 00:28:17,093 that ever came out of Louisiana, New Orleans, the South. 674 00:28:17,176 --> 00:28:20,721 ♪Na-nah na-nah, na-nah na-nah ♪ 675 00:28:22,390 --> 00:28:25,518 [narrator] Master P and No Limit put New Orleans on the map in hip-hop, 676 00:28:26,060 --> 00:28:28,896 but while No Limit's hardcore style sold major units, 677 00:28:29,230 --> 00:28:31,232 their sound was still a departure for the city. 678 00:28:31,315 --> 00:28:34,068 [bounce music playing] 679 00:28:35,486 --> 00:28:37,363 New Orleans was still ruled by bounce, 680 00:28:37,905 --> 00:28:40,324 but in the duality of the city, there was an opportunity. 681 00:28:41,492 --> 00:28:43,869 And NOLA had no shortage of hard-working hustlers, 682 00:28:43,953 --> 00:28:47,331 including a pair of brothers from the city's tough Magnolia Projects, 683 00:28:47,415 --> 00:28:50,876 who would follow Master P's blueprint for independent success. 684 00:28:53,212 --> 00:28:55,172 [bounce music playing] 685 00:28:57,049 --> 00:28:58,050 [male] We the millennium. 686 00:28:58,134 --> 00:29:00,511 We've come to take this game and bring it to me. 687 00:29:01,137 --> 00:29:03,306 We gonna be here. I ain't no fly-by-night nigga. 688 00:29:03,389 --> 00:29:05,016 Gonna be here two years, three years. 689 00:29:05,099 --> 00:29:06,225 I got this shit. 690 00:29:06,309 --> 00:29:07,685 [Mannie Fresh] I met Baby and Slim. 691 00:29:07,768 --> 00:29:09,228 I was DJing in the Caliope, 692 00:29:09,312 --> 00:29:11,981 and that's way out of my area. 693 00:29:12,440 --> 00:29:15,401 But every week, the drug dealers had me there, 694 00:29:15,568 --> 00:29:18,195 because they wanted to keep that crowd out there. 695 00:29:18,279 --> 00:29:19,864 Baby and them were there. 696 00:29:19,989 --> 00:29:21,949 He was just like, "I wanna make records 697 00:29:22,283 --> 00:29:25,911 and I think you're the dude, you know, that could bring it to the next level." 698 00:29:26,537 --> 00:29:29,040 I think Baby could sell space heaters in hell. 699 00:29:29,665 --> 00:29:31,375 This dude will give you a speech, 700 00:29:31,626 --> 00:29:34,295 and y'all could be down by a hundred points, 701 00:29:34,378 --> 00:29:37,798 and he can make your ass believe that you're going to win that game. 702 00:29:37,882 --> 00:29:40,384 Now, at the time, they had an artist called Kilo G, 703 00:29:40,468 --> 00:29:43,429 and I'm going, "That's cool, but bounce is popular right now. 704 00:29:43,512 --> 00:29:45,681 Let's try a bounce record and see what happens." 705 00:29:45,765 --> 00:29:48,934 Well, I'd heard about these dudes from my dad, called U.N.L.V. 706 00:29:49,018 --> 00:29:51,062 They were three little dudes who would just go around, 707 00:29:51,145 --> 00:29:52,938 rapping off of breakbeats or whatever, 708 00:29:53,022 --> 00:29:54,190 but they had a following. 709 00:29:54,273 --> 00:29:57,610 You know, there were only, like, three different labels in New Orleans, 710 00:29:57,943 --> 00:29:58,944 and they was one of them, 711 00:29:59,028 --> 00:30:01,155 and they were trying to get their label off the ground, 712 00:30:01,280 --> 00:30:02,615 and we weren't even in the studio. 713 00:30:02,698 --> 00:30:06,410 We recorded our first album in Mannie Fresh's kitchen, 714 00:30:06,494 --> 00:30:07,578 as a matter of fact. 715 00:30:07,662 --> 00:30:10,289 Every album that we had done a lot of numbers, you know. 716 00:30:10,373 --> 00:30:11,791 We did real well with them. 717 00:30:11,874 --> 00:30:14,043 We opened the doors for them to sign other artists, 718 00:30:14,126 --> 00:30:15,795 added a little more revenue. 719 00:30:15,878 --> 00:30:17,463 And, what we were doing differently, 720 00:30:17,546 --> 00:30:20,591 we were actually using the bounce tracks, 721 00:30:21,133 --> 00:30:23,469 but we were putting gangsta lyrics on top of it. 722 00:30:24,095 --> 00:30:26,055 [M$. Tee] What was different about Cash Money was, 723 00:30:26,138 --> 00:30:28,474 we were telling stories with our bounce. 724 00:30:28,557 --> 00:30:30,434 We had the catchy beats or whatever, 725 00:30:30,518 --> 00:30:33,938 but it was more of a reality bounce. 726 00:30:34,438 --> 00:30:37,400 [interviewer] Baby and Slim, what do you remember of that relationship? 727 00:30:37,483 --> 00:30:39,985 Like, did they have different roles in Cash Money? 728 00:30:40,069 --> 00:30:42,822 What I can say about them, they knew how to pick talent. 729 00:30:43,322 --> 00:30:45,449 Oh, my god, bro, they have a gift. 730 00:30:45,574 --> 00:30:48,327 Baby and Slim, they were always looking for new artists. 731 00:30:48,411 --> 00:30:50,621 You know, we had U.N.L.V. for a long time, 732 00:30:50,705 --> 00:30:53,249 but it was, you know, it was time for a new little era. 733 00:30:54,208 --> 00:30:56,001 We knew what time it was. 734 00:30:56,085 --> 00:31:00,881 I think it was, it was, like, a part of Baby and Slim's strategy 735 00:31:01,215 --> 00:31:03,217 to almost recreate a U.N.L.V., 736 00:31:03,300 --> 00:31:05,845 but also add more to the company. 737 00:31:05,928 --> 00:31:08,347 [hip-hop beats playing] 738 00:31:08,472 --> 00:31:12,226 [narrator] Cash Money's vision for reality bounce was a turning point for the label, 739 00:31:12,977 --> 00:31:14,895 but they needed rappers to pull it off, 740 00:31:16,230 --> 00:31:18,315 and who better than a prodigy of the bounce scene: 741 00:31:18,607 --> 00:31:21,193 A gold-toothed rapper who got his start with DJ Jimi, 742 00:31:21,569 --> 00:31:23,654 and went by the name of Juvenile. 743 00:31:24,822 --> 00:31:27,366 ♪Now bounce for the Juvenile Bounce for the Juvenile ♪ 744 00:31:27,450 --> 00:31:29,285 ♪Bounce trick Bounce, bounce, bounce ♪ 745 00:31:29,368 --> 00:31:32,037 ♪I say bounce for the Juvenile Bounce for the Juvenile ♪ 746 00:31:32,121 --> 00:31:33,914 -Glad you made it. -Thank you so much. 747 00:31:33,998 --> 00:31:34,832 Let's do it. 748 00:31:34,915 --> 00:31:37,209 [interviewer] So, why don't we just start at the beginning, 749 00:31:37,293 --> 00:31:38,961 and tell me how you connected with DJ Jimi. 750 00:31:39,044 --> 00:31:41,505 [Juvenile] I mean, I started off rapping at the block parties. 751 00:31:41,589 --> 00:31:44,884 It was only, like, a couple of us who could actually walk up, 752 00:31:44,967 --> 00:31:46,969 grab the microphone, and just start running it. 753 00:31:47,303 --> 00:31:49,680 And, shit, I was one of them. I was upper echelon. 754 00:31:50,181 --> 00:31:52,516 Jimi got an opportunity to take me to the studio. 755 00:31:52,600 --> 00:31:55,227 When I got in there, I realized I was gonna be the writer. 756 00:31:55,311 --> 00:31:58,355 You know, I thought I was going in there to do songs for myself. 757 00:31:58,439 --> 00:32:00,357 I wrote damn near every song on the album. 758 00:32:00,441 --> 00:32:01,776 "Bounce (For The Juvenile)," 759 00:32:01,859 --> 00:32:04,028 I did that just to put my name out there. 760 00:32:04,111 --> 00:32:07,281 Like, it was a slick way of getting on his album. 761 00:32:07,364 --> 00:32:09,492 ♪Juvenile will kill ya Juvenile will kill ya ♪ 762 00:32:09,575 --> 00:32:12,119 ♪I? quick for fucking ya bitch and I'm quick to pull a trigger ♪ 763 00:32:12,203 --> 00:32:14,163 ♪I'm an uptown villain, I got that heart ♪ 764 00:32:14,246 --> 00:32:15,873 ♪I'm raised up on the streets... ♪ 765 00:32:15,956 --> 00:32:17,750 [Juvenile] The "Bounce (For The Juvenile)" song 766 00:32:17,833 --> 00:32:18,667 actually blew up. 767 00:32:18,751 --> 00:32:22,213 It made record companies pay attention to the little cat in the background. 768 00:32:22,338 --> 00:32:25,382 You know what I'm saying, like, "Wait, hold up. So he wrote all that?" 769 00:32:25,466 --> 00:32:28,803 I was actually at the bus stop on Canal Street. 770 00:32:28,886 --> 00:32:30,888 Baby and them pulled up on me, like 771 00:32:30,971 --> 00:32:32,723 "Man, I wanna talk to you." 772 00:32:33,224 --> 00:32:35,935 They picked me up from the bus stop, man, took me to the studio. 773 00:32:36,018 --> 00:32:37,269 I ain't never looked back. 774 00:32:37,353 --> 00:32:40,022 ["Bounce (For The Juvenile)" playing] 775 00:32:40,105 --> 00:32:41,565 [Mannie Fresh] Juvie was established, 776 00:32:41,649 --> 00:32:43,108 but it's this other kid, 777 00:32:43,234 --> 00:32:45,402 he's a prodigy, nuts, he can rap. 778 00:32:45,528 --> 00:32:46,695 It's Lil Wayne. 779 00:32:46,987 --> 00:32:50,241 Now, at the time, Lil Wayne is 11, 12, something like that. 780 00:32:50,825 --> 00:32:52,660 Magnolia Shorty, rest in peace, 781 00:32:52,743 --> 00:32:55,079 she was like, "Hey, I know a little guy, Turk. 782 00:32:55,162 --> 00:32:56,330 Nice on the mic." 783 00:32:56,664 --> 00:32:57,957 She brings him in. 784 00:32:58,207 --> 00:33:00,501 And BG, he's from Baby and them's block. 785 00:33:01,210 --> 00:33:02,962 So, now we got four solo dudes, 786 00:33:03,045 --> 00:33:04,922 and I get this idea to say, like: 787 00:33:05,005 --> 00:33:06,298 "Dude, this is what we gonna do. 788 00:33:06,757 --> 00:33:08,676 To build everybody else's career off of this, 789 00:33:08,759 --> 00:33:10,177 I'm gonna put y'all together 790 00:33:10,261 --> 00:33:11,846 and become The Hot Boys. 791 00:33:11,971 --> 00:33:13,681 It was almost like a boy band, 792 00:33:13,764 --> 00:33:16,100 some thug boy band group. 793 00:33:16,517 --> 00:33:19,311 It was the whole movement of, you know, 794 00:33:19,395 --> 00:33:20,729 you want people to turn into this. 795 00:33:20,813 --> 00:33:23,983 You want people to turn into, "I want to be like these dudes." 796 00:33:24,525 --> 00:33:26,777 [Juvenile] BG's straight gangster, straight street. 797 00:33:26,986 --> 00:33:29,488 Wayne, real witty, clever with words. 798 00:33:29,822 --> 00:33:32,616 Turk was the freak of the clique, and I'm the old dude. 799 00:33:32,700 --> 00:33:35,411 -[interviewer laughing] -Straight up. 800 00:33:35,494 --> 00:33:38,873 It was really the actual transformation of Cash Money. 801 00:33:38,956 --> 00:33:41,917 They let all the other artists go. I mean, everybody. 802 00:33:42,001 --> 00:33:44,837 The room went from a room full of people 803 00:33:45,671 --> 00:33:47,464 to five or six people, 804 00:33:47,756 --> 00:33:51,719 and that's including the producer, Baby, Slim, and the groups. 805 00:33:51,844 --> 00:33:53,220 The fingers were just pointing at, 806 00:33:53,512 --> 00:33:54,847 "Now y'all gotta do it." 807 00:33:55,180 --> 00:33:57,933 ♪What kinda boy that be full of that dro? ♪ 808 00:33:58,017 --> 00:33:59,894 ♪What kinda boy freeze shop like a Eskimo? ♪ 809 00:34:00,185 --> 00:34:02,645 ♪Juvie what kinda boy wanna be like me? ♪ 810 00:34:02,730 --> 00:34:05,399 ♪A boy that wanna go get that ♪8 Mercedes ♪ 811 00:34:05,482 --> 00:34:08,360 ♪BG what kinda boy got 10 round his neck, wha? ♪ 812 00:34:08,444 --> 00:34:09,612 ♪20 on his wrist, wha?... ♪ 813 00:34:10,613 --> 00:34:13,866 [Mannie Fresh] The whole concept of how MCs worked off each other, 814 00:34:13,949 --> 00:34:14,866 like back in the G. 815 00:34:14,950 --> 00:34:17,912 That was my thought on how I was gonna work The Hot Boys. 816 00:34:17,995 --> 00:34:19,872 A modern day Furious Five. 817 00:34:20,038 --> 00:34:22,040 At the time, it was the leather thing 818 00:34:22,124 --> 00:34:24,543 that they did, or whatever, but it was the uniform. 819 00:34:24,627 --> 00:34:26,210 Everybody had the same thing on. 820 00:34:26,295 --> 00:34:27,421 Everybody moved as one. 821 00:34:27,504 --> 00:34:29,839 It was the bandana, the long white Ts. 822 00:34:30,299 --> 00:34:32,301 [Juvenile] Damn, dawg. It's the Furious Five redub. 823 00:34:33,052 --> 00:34:34,261 I'm Melle Mel in there. 824 00:34:34,345 --> 00:34:35,179 They're jealous. 825 00:34:35,261 --> 00:34:36,931 I can't be nobody else but Melle Mel. 826 00:34:37,014 --> 00:34:39,223 [Juvenile] Damn, I didn't know that's how he saw that. 827 00:34:39,308 --> 00:34:40,976 The look is the Magnolia. 828 00:34:41,060 --> 00:34:43,604 Before we even got around, did anything with Cash Money, 829 00:34:43,687 --> 00:34:45,855 we were wearing T-shirts, Girbauds and Reeboks. 830 00:34:45,940 --> 00:34:49,485 We got packs of T-shirts, and packs of rags, and boxes of soldiers. 831 00:34:49,902 --> 00:34:51,737 Man, we would show up to an event, 832 00:34:52,488 --> 00:34:54,615 and they'd see us earlier that day, 833 00:34:54,740 --> 00:34:57,284 and they all think we had the same clothes on, 834 00:34:57,910 --> 00:35:00,788 "Yo man, that's bad. We gotta change our wardrobe." 835 00:35:02,206 --> 00:35:04,583 ♪Man, look What kinda nigga just dress in all black ♪ 836 00:35:04,667 --> 00:35:07,419 ♪Fitted hats, long flats Four slugs, lots of tats? ♪ 837 00:35:07,503 --> 00:35:10,297 ♪Hold up What kinda nigga ride 20 inch chrome ♪ 838 00:35:10,381 --> 00:35:12,883 ♪Turning off his phone 'Cause hoes don? wanna leave him alone? ♪ 839 00:35:12,967 --> 00:35:14,051 [Juvenile] We are Hot Boys. 840 00:35:14,134 --> 00:35:15,844 We fires that can't be put out. 841 00:35:15,928 --> 00:35:19,556 You could call every fire engine truck in the United States 842 00:35:19,640 --> 00:35:21,183 and let 'em wet us down, 843 00:35:21,266 --> 00:35:22,685 but we still gonna burn. 844 00:35:23,227 --> 00:35:24,311 We still gonna burn. 845 00:35:25,020 --> 00:35:27,898 It was undeniable, because all of them were dope artists. 846 00:35:27,982 --> 00:35:29,441 Dope rappers, dope lyricists, 847 00:35:29,525 --> 00:35:34,530 and you had the sound that Mannie Fresh had introduced, 848 00:35:34,613 --> 00:35:37,825 which was bounce, but with a twist. 849 00:35:37,908 --> 00:35:39,618 You know, you just wanna get rowdy with it. 850 00:35:39,702 --> 00:35:41,537 And, that resonated everywhere. 851 00:35:41,787 --> 00:35:45,290 People liked that raunchy sound, that "let's get wild" sound. 852 00:35:45,374 --> 00:35:46,959 ♪...the hot boys, the hot boys ♪ 853 00:35:47,042 --> 00:35:49,545 ♪Them niggas is the hot boys The hot ♪ 854 00:35:49,628 --> 00:35:50,629 ♪Them niggas is the... ♪ 855 00:35:50,713 --> 00:35:52,881 [M$. Tee] They did a big impact with The Hot Boys. 856 00:35:52,965 --> 00:35:55,134 Everybody wanted to be like them, 857 00:35:55,217 --> 00:35:57,553 with the white T-shirts, and the Girbauds on. 858 00:35:57,886 --> 00:35:59,722 Everybody with the do-rag on. 859 00:35:59,805 --> 00:36:01,390 Nobody was putting no suits on. 860 00:36:02,474 --> 00:36:05,978 They did so much independently. I mean, like, a lot. 861 00:36:06,311 --> 00:36:09,815 But, when you selling a lot on your own, record companies start looking at that. 862 00:36:10,274 --> 00:36:12,192 [Juvenile] That whole record deal with Universal, 863 00:36:12,276 --> 00:36:14,445 it was a shock to the music industry. 864 00:36:14,528 --> 00:36:15,946 I feel like they didn't understand 865 00:36:16,030 --> 00:36:18,323 that we were gonna put out a decent amount of albums. 866 00:36:18,574 --> 00:36:20,034 The quality of the sound. 867 00:36:20,284 --> 00:36:21,910 Like, they didn't know, really, like 868 00:36:21,994 --> 00:36:23,495 "Who are these cats? 869 00:36:23,829 --> 00:36:25,998 What did they do to get 30 million dollars?" 870 00:36:26,999 --> 00:36:28,125 It was a fun time for us. 871 00:36:28,208 --> 00:36:29,918 How the hell are y'all out there? 872 00:36:30,002 --> 00:36:32,671 Uhh! [laughs] 873 00:36:32,755 --> 00:36:34,214 [male] Put the light on them bitches. 874 00:36:34,298 --> 00:36:36,133 That's a hundred Gs, player. 875 00:36:36,467 --> 00:36:37,634 You see the bling in 'em? 876 00:36:38,218 --> 00:36:39,928 Get a good shot of 'em, cousin. 877 00:36:40,637 --> 00:36:43,390 [Lil Ya] Cash Money was always known for a flossing label. 878 00:36:43,474 --> 00:36:47,311 The stunting thing came about when the big deal came, 879 00:36:47,394 --> 00:36:51,190 the world knew that Baby and Slim signed and had a lot of money, 880 00:36:51,273 --> 00:36:56,028 and Baby also got the opportunity to really come front line. 881 00:36:56,111 --> 00:36:58,697 Let me know everything there is to know about Cash Money. 882 00:36:58,781 --> 00:37:00,783 A'ight. First thing to know about us, 883 00:37:00,866 --> 00:37:02,117 I got the rap game on lock. 884 00:37:02,201 --> 00:37:03,494 You must know that first. 885 00:37:03,577 --> 00:37:05,871 Can't nothing or nobody fake what we trying to do 886 00:37:05,954 --> 00:37:07,081 and what we about to do. 887 00:37:07,247 --> 00:37:08,290 Second thing is, 888 00:37:09,166 --> 00:37:12,002 we got this game on our level. 889 00:37:12,086 --> 00:37:13,504 Y'all understand what I'm saying? 890 00:37:13,587 --> 00:37:15,839 [Mannie Fresh] Now, Cash Money is solidified. 891 00:37:15,923 --> 00:37:17,549 You had BG fans, 892 00:37:17,674 --> 00:37:20,928 you had Lil Wayne fans, you had Turk fans and you had Juvenile fans. 893 00:37:21,011 --> 00:37:22,763 They gave everybody a platform. 894 00:37:22,846 --> 00:37:24,932 To build everybody else's career off of this, 895 00:37:25,015 --> 00:37:27,309 now we really gonna break y'all down into solo artists. 896 00:37:27,434 --> 00:37:29,561 Next week, we doing Juvenile's album. 897 00:37:30,395 --> 00:37:31,730 Cash Money had been out, 898 00:37:31,814 --> 00:37:34,650 but they hadn't gotten to where No Limit was yet. 899 00:37:35,317 --> 00:37:38,320 And then, when that 400 Degreez album came out, 900 00:37:39,822 --> 00:37:41,782 it took over as the number one 901 00:37:41,865 --> 00:37:43,492 rap sound in New Orleans. 902 00:37:43,575 --> 00:37:48,205 Always in the back of our minds, we was... We had to do real good on our art, 903 00:37:48,288 --> 00:37:49,957 try to be better than No Limit. 904 00:37:50,040 --> 00:37:51,959 Not saying that we were chasing them. 905 00:37:52,167 --> 00:37:53,919 They were the ones in the game. 906 00:37:54,002 --> 00:37:56,004 Like, if you gonna beat anybody in the music game, 907 00:37:56,088 --> 00:37:58,507 or compete with anybody coming from New Orleans, 908 00:37:58,590 --> 00:38:00,384 you gotta at least be close 909 00:38:00,467 --> 00:38:01,593 to where No Limit at. 910 00:38:01,677 --> 00:38:04,263 We went from here, to here, 911 00:38:04,346 --> 00:38:06,056 and I knew, you gotta follow up. 912 00:38:06,140 --> 00:38:07,850 Especially on a national album. 913 00:38:07,933 --> 00:38:12,104 At the time, I really felt like if anybody was gonna make a bounce record, 914 00:38:12,187 --> 00:38:14,356 and make everybody like it and break it to the world, 915 00:38:14,439 --> 00:38:15,566 it was going to be me. 916 00:38:15,649 --> 00:38:16,483 That was my focus. 917 00:38:16,567 --> 00:38:19,069 I was like, "Just gimme a real fast beat and let me go." 918 00:38:19,153 --> 00:38:23,031 ♪Cash Money Records taking over for the '99 andamp; the 2000 ♪ 919 00:38:23,115 --> 00:38:25,576 ♪Girl you working with some ass, yeah, you're bad, yeah ♪ 920 00:38:25,659 --> 00:38:28,078 ♪Make a nigga spend his cash, yeah ♪ His last, yeah ♪ 921 00:38:28,162 --> 00:38:30,455 ♪Hoes frown when you pass, yeah, They mad, yeah ♪ 922 00:38:30,539 --> 00:38:33,125 ♪You gon' ride in the Jag, yeah, With dad, yeah ♪ 923 00:38:33,208 --> 00:38:35,460 ♪You could smoke or buy a bag, yeah ♪ Of grass, yeah ♪ 924 00:38:35,544 --> 00:38:38,046 ♪Got money I confess, yeah And trash, yeah ♪ 925 00:38:38,130 --> 00:38:38,964 ♪I'm a big time... ♪ 926 00:38:39,047 --> 00:38:40,883 [Mannie Fresh] The beat was a bounce beat, 927 00:38:40,966 --> 00:38:44,136 but what made "Back That Azz Up" different was it had structure to it. 928 00:38:44,219 --> 00:38:46,221 It had a chorus, it had a bridge. 929 00:38:46,305 --> 00:38:49,600 I started incorporating more music to these beats. 930 00:38:50,184 --> 00:38:52,352 The top part of it was classical music. 931 00:38:52,436 --> 00:38:56,064 [imitating orchestral strings] 932 00:38:56,148 --> 00:38:58,233 At that moment, hip-hop was going crazy, 933 00:38:58,317 --> 00:39:00,444 because nobody was doing where the song broke down, 934 00:39:00,527 --> 00:39:02,988 and there was this part for these girls to go nuts. 935 00:39:03,071 --> 00:39:05,490 ♪Drop it like it's hot, Drop-drop it like it's hot ♪ 936 00:39:05,574 --> 00:39:07,993 ♪Drop it like it's hot, Drop-drop it like it's hot ♪ 937 00:39:08,118 --> 00:39:09,703 [Mannie Fresh] All of that won it over. 938 00:39:10,120 --> 00:39:11,788 It crossed over to both worlds. 939 00:39:11,872 --> 00:39:14,291 ♪A nigga do a trick, yeah, On the dick, yeah ♪ 940 00:39:14,374 --> 00:39:16,501 ♪You claiming you want a bitch, yeah, That ain't shit, yeah ♪ 941 00:39:16,585 --> 00:39:19,004 ♪The nigga with the money, yeah, Don't act funny, yeah ♪ 942 00:39:19,087 --> 00:39:21,465 ♪Got birds and I'm running, yeah, 'Bout a hundred, yeah ♪ 943 00:39:21,548 --> 00:39:23,258 I was like, "Holy shit." 944 00:39:23,342 --> 00:39:24,593 [laughing] 945 00:39:24,676 --> 00:39:28,639 [Big Freedia] "Back That Azz Up" was rapping over more of a bounce beat. 946 00:39:29,056 --> 00:39:32,893 Like, we got one that's gonna put the limelight on New Orleans, 947 00:39:32,976 --> 00:39:35,395 and repping the sound of New Orleans. 948 00:39:35,479 --> 00:39:38,732 [DJ Jimi] "Back That Azz Up" showed them twerking, you know. 949 00:39:39,233 --> 00:39:41,860 They took it out. They took it more nationwide. 950 00:39:42,986 --> 00:39:46,448 From it being local to now everybody knew about this. 951 00:39:46,531 --> 00:39:49,409 [M$. Tee] When Juvie came through, it was something fresh, 952 00:39:49,493 --> 00:39:52,537 it was something new, it was something that nobody else was doing. 953 00:39:52,621 --> 00:39:54,665 He just had an original vibe. 954 00:39:54,748 --> 00:39:56,083 It was awesome! 955 00:39:56,375 --> 00:39:59,378 I'm a girl, nigga, and I went and bought that fucking CD! 956 00:39:59,461 --> 00:40:02,047 ♪Call me big daddy when you Back that ass up ♪ 957 00:40:02,130 --> 00:40:04,549 ♪Girl who is you playing with? Back that ass up ♪ 958 00:40:04,633 --> 00:40:06,843 ♪Girl you looks good, won't you Back that ass up? ♪ 959 00:40:06,927 --> 00:40:09,137 ♪You's a fine motherfucker, won't you Back that ass up? ♪ 960 00:40:09,221 --> 00:40:12,099 ♪Do the ladies rule this mother? ♪ 961 00:40:12,182 --> 00:40:13,976 ♪Hell yeah! ♪ 962 00:40:14,059 --> 00:40:16,979 ♪Do the fellas rule this mother? ♪ 963 00:40:17,437 --> 00:40:18,605 ♪Hell yeah! ♪ 964 00:40:19,189 --> 00:40:20,816 [Mannie Fresh] Everything after that 965 00:40:20,899 --> 00:40:23,360 was certified platinum record from Cash Money. 966 00:40:23,443 --> 00:40:26,280 It's one of the longest lasting labels that's been around. 967 00:40:26,697 --> 00:40:27,948 [Master P] That's their legacy. 968 00:40:28,031 --> 00:40:28,949 I'm proud of them. 969 00:40:29,032 --> 00:40:31,660 I'm happy for them that they went on their own. 970 00:40:31,994 --> 00:40:34,162 I think it was a good time for New Orleans, 971 00:40:34,246 --> 00:40:37,666 so where we were the first and they came right behind us. 972 00:40:37,749 --> 00:40:39,960 It showed the world what we were about, 973 00:40:40,544 --> 00:40:41,753 what we stood for, 974 00:40:42,671 --> 00:40:45,257 the pain, the struggle, the hustle. 975 00:40:45,340 --> 00:40:47,426 It represented the culture. 976 00:40:47,509 --> 00:40:48,385 ♪Cash Money ♪ 977 00:40:48,468 --> 00:40:49,970 ♪We making that money ♪ 978 00:40:50,053 --> 00:40:50,929 ♪Cash Money ♪ 979 00:40:51,013 --> 00:40:52,347 ♪Nothing is funny ♪ 980 00:40:52,431 --> 00:40:53,557 ♪Cash Money ♪ 981 00:40:53,640 --> 00:40:55,058 ♪Ol' baby gave me the game ♪ 982 00:40:55,142 --> 00:40:56,143 ♪Cash Money ♪ 983 00:40:56,226 --> 00:40:57,644 ♪Ol' bubba gave me the game ♪ 984 00:40:57,728 --> 00:40:58,729 ♪Cash Money ♪ 985 00:40:58,812 --> 00:41:00,439 ♪You better recognize the name ♪ 986 00:41:00,522 --> 00:41:01,523 ♪Cash Money ♪ 987 00:41:01,606 --> 00:41:02,899 ♪We came, now the fuckin' fame ♪ 988 00:41:02,983 --> 00:41:03,900 ♪Cash Money ♪ 989 00:41:03,984 --> 00:41:05,694 [dramatic hip-hop beats playing] 990 00:41:05,777 --> 00:41:09,364 [narrator] Luke Records, Rap-A-Lot, LaFace. 991 00:41:09,823 --> 00:41:11,366 Until New Orleans came along, 992 00:41:11,450 --> 00:41:13,493 these were the labels that defined the South, 993 00:41:14,369 --> 00:41:15,912 but the countless platinum plaques 994 00:41:15,996 --> 00:41:18,707 that No Limit and Cash Money stacked were unparalleled. 995 00:41:19,249 --> 00:41:22,419 And, more importantly, the deals they made as independents 996 00:41:22,586 --> 00:41:24,963 redefined how success was measured in hip-hop. 997 00:41:25,839 --> 00:41:27,966 It was yet another milestone for the South, 998 00:41:28,342 --> 00:41:30,761 and further proof that by drawing on their own history, 999 00:41:31,011 --> 00:41:33,722 the South could keep bending the contours of hip-hop. 1000 00:41:34,681 --> 00:41:37,017 And, that's exactly what they were going to do.