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[narrator]
From the late '80s onward,<
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hip-hop was dominated by two regions,
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the East and the West.
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[hip-hop beats continue]
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[narrator]
But Atlanta's risein the mid '90s
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marked the startof a new chapter in hip-hop.
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A power shift to the South
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that was rooted in regional pride,
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and shaped by indigenous influences.
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Because, all across the South,
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free from preconceptionsof what hip-hop could be or should be,
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DJs, MCS and producerswere creating the future of hip-hop...
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including here: New Orleans.
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[urban ambience]
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[New Orleans jazz music playing]
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New Orleans is a musical place,
it's a magical place
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when you talk about musicians.
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You can find one on every corner.
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[male]
You have so much mixture
of different types of music in the city.
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We call it "gumbo." You put a lot
of different flavors in it, man,
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and you get one big pot out of it.
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[DJ Jubilee]
It makes New Orleans unique,
and people just wanna be a part of it.
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[New Orleans jazz music plays]
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[narrator]
As the birthplace of jazzand the home of Mardi Gras,
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NOLA was bound to touch hip-hop.
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This is a citywhere music underscores everything.
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Because in New Orleans,there's music in life,
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and there's music in death.
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[Charlie] It's important to understand
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that New Orleans is
the most Africanized city in America.
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Because the French were very lax
with the slaves,
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the Africans who were brought here
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were able to retain
a lot of African culture.
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In African culture,
we don't look at death as "the end,"
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we look at it as the next phase,
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and you're supposed to celebrate that.
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[funeral march plays]
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[Charlie] "Second line" is based
on a New Orleans jazz funeral,
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where you have the band leading the family
down to the grave site.
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That's the first line,
is the family and the band,
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and it's very somber.
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And, on the way back,
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whoever else joins in,
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that becomes the second line
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and it's really a party.
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[upbeat New Orleans jazz music plays]
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The second line is like a magnet.
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You draw all kinds of people in
and they all walk in the streets together,
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like, in one big ol' pile.
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[New Orleans jazz music plays]
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[DJ Jubilee] It's how we end off a party,
with a great second line, baby.
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-[interviewer] That's it.
-[DJ Jubilee] Oh. Watch out, y'all.
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[DJ Jubilee humming to a beat]
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[male] If you go to the second line,
as the band's playing,
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a couple of people will pick up something
and play with them.
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I don't care if it's a bottle or a stick,
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a screwdriver hitting on a stop sign,
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they will find something
just to be part of what the band's doing.
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New Orleans is just related to music,
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and it's just our DNA.
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[Mia X] We move to a different beat
in New Orleans.
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The influence of the Mardi Gras Indians,
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and the second line bands are in us
every time we get ready to write a rhyme.
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What it is, is a lot of chanting.
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[Mardi Gras Indians chanting]
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[interviewer]
Call and response
is a big part of it, right?
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[female]
I love it.
I'm about to show you what it is.
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Alright.
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When I say "Cheeky," you say "Blakk."
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-I'm Cheeky.
-Blakk.
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-I'm Cheeky.
-Blakk.
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-We rockin', we rollin' with Cheeky.
-Blakk.
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-You movin', you groovin' with Cheeky.
-Blakk.
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I love the way you really sing it
with Cheeky.
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-Blakk.
-Twerk up.
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-I forgot that one already.
-Twerk something.
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Something... I already forgot it.
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It all connects: the Mardi Gras Indians,
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the second line sound.
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You heard all that good stuff like that
at block parties.
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And it's the beat.
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It's the beat that gets the feet moving,
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and the hands clapping,
and the people jumping.
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On that note, block parties here,
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were they a big thing
when you were growing up?
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Oh, most definitely.
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[hip-hop beats playing]
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You say they got a block party here,
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everybody meeting at that location.
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You got guys on motorbikes,
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you got girls in their high shorts.
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Wherever the girls go,
the fellas will follow.
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[Mia X]
Block parties really used to be
in the projects, you know.
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We used to call it the DJ,
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and that's how a lot of DJs
made a name for themselves.
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You know, the late, great Sabu,
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he was, like, one of the first mobile DJs
we had in New Orleans.
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He was, like, the record man,
and he would pass on your block,
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and he would play records, and, you know,
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he gave block parties
before block parties were block parties.
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Then Sabu had a baby.
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He was, like, a child prodigy.
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He could do everything at a young age.
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I'm not surprised that he is one
of the greatest producers in the game.
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His love for music was just always there.
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He was always trying
to push the envelope.
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[hip-hop beats playing]
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[narrator]
DJ Sabu rocked block partiesacross New Orleans,
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but his biggest legacy was right at home.
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Because, while Sabuwas working the turntables,
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his son was watching and listening,
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soaking up the gameand learning the craft.
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And, he'd apply all his knowledge
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to set the tonefor the sound of NOLA hip-hop.
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[hip-hop beats playing]
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My dad, Sabu,
was a street DJ in New Orleans,
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and his performances were crazy.
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I remember my dad used to come home
with 'DJ of the Year' trophies.
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Early on, my dad did block parties.
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I just remember my dad
back-spinning Chic, "Good Times."
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[singing "Good Times"]
♪Good times ♪
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[imitates beat and scratching record]
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♪Gimme gimme gimme good times ♪
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I had never heard the song before,
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but I was just like,
"Whatever the fuck that is,
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I need to learn how to do that."
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That was the defining moment.
That record.
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It was life-changing.
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I practiced 24/7, all day,
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get on my mom's nerves, my dad's nerves.
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He a DJ, but he still going,
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"Turn that shit off."
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[hip-hop beats playing]
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[Mannie Fresh]
I started
DJing block parties.
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Now, at the time,
Miami bass had started jumping off.
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00:06:05,221 --> 00:06:10,392
I noticed that everybody
in New Orleans loves 808 beats.
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I started bringing my 808 drum machine
to the gigs,
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and that caught on.
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Kids would be like,
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"Hey, when you gonna
play the drum machine?"
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This is what people wanted me to do,
more than DJing.
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At the time, I was working
at Allen Toussaint's Sea-Saint studio.
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The guy in there was like,
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"Do you know any rappers?"
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And I'm like,
"Yeah, I know this guy, Gregory D."
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So they're just like,
"If y'all wanna make a song,
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y'all can do it,
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but it's gotta kind of sound
like something New Orleans."
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This is somebody's idea
of how I'm gonna merge hip-hop with jazz.
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And, I'm automatically going,
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"If I get a chance, I'm just gonna
put some 808 drums in there."
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And I'm like,
"It ain't gonna be no horns and all."
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[Mannie Fresh laughing]
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I laid the beat down,
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and I was like,
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"What if I just tripled the snares
and all of that?"
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[Mannie Fresh mimicking New Orleans drums]
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The drums started sounding like,
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"Well, damn,
that's like a New Orleans pattern."
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It came from growing up here.
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I just turned this...
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this 808 drum
into the New Orleans second line
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jazz drumming.
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And so, Greg was like,
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"I know how to make it
traditional New Orleans buck jump."
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[New Orleans jazz playing]
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"Buck jump" is pretty much
a dance in New Orleans.
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It's what you do when you second line.
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It was like, "Okay, this is
what classic New Orleans wanna hear."
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They like, "Yeah, say something
about buck jumping, about unity,
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keep everybody together or whatever."
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So, that's how this song came.
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♪Buck jump time ♪
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♪That Caliope ♪
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♪Buck jump time ♪
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♪That Melpomene ♪
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♪Buck jump time ♪
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♪That Magnolia ♪
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♪Buck jump time ♪
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♪St. Thomas ♪
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♪Buck jump time ♪
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[male]
When I did "Buck Jump"--
Let me explain this to you.
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The thing about New Orleans
that's so different...
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You know how some people will
claim the Eastside or the Westside?
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They claim "wards"down here.
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Third Ward, Fourth Ward,
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Fifth Ward, Sixth Ward, Seventh Ward,
Eighth Ward.
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I took the chance.
I'm like, "You know what?
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I'm gonna talk about every
project and every ward in New Orleans,
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and I'm gonna make these motherfuckers
lose their motherfucking mind
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by claiming their goddamn wards."
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♪Uptown, Third Ward,That Caliope ♪
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♪Melpomene, Magnolia,The Home Of Dope ♪
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00:08:08,969 --> 00:08:11,555
♪St. Thomas, Lafitte,The Iberville? hard ♪
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♪And that Seventh WardSt. Bernard ♪
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The song was huge,
but every time I played the song,
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a fight would start.
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"Buck jump time! That Caliope.Buck jump time! That--"
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00:08:21,899 --> 00:08:24,360
And the next minute, boom,
everybody would be fighting.
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[Mannie Fresh] But, when you played this
at a party,
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some preppy kids,
they got off the dancefloor.
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They be like,
"Nah, I'm not messing with that."
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Like, when that played, fights.
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[laughs]
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It's like a war call.
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When this record comes on,
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anybody that you have a problem with,
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when that song comes on,
that's the cue to go looking for him.
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00:08:41,460 --> 00:08:43,212
"Now, we 'bout to handle this right now."
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♪That Third Ward kicking it?Hell yeah! ♪
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00:08:45,881 --> 00:08:47,883
♪That Fifth Ward kicking it?Hell yeah! ♪
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00:08:47,966 --> 00:08:49,885
♪That Seventh Ward kicking it?Hell yeah! ♪
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00:08:49,968 --> 00:08:51,553
♪That Eighth Ward kicking itHell yeah! ♪
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They used to go off, man.
This ward's going against this ward.
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00:08:54,640 --> 00:08:56,058
This ward's going against that ward.
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We did the record for togetherness.
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00:08:58,018 --> 00:09:00,270
[laughing]
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00:09:00,354 --> 00:09:02,314
But, we opened up a door
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00:09:02,773 --> 00:09:06,402
that everybody saw that, "You know what?
this shit can happen down here."
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00:09:08,779 --> 00:09:11,657
[narrator] "Buck Jump Time" wasa breakthrough for NOLA's hip-hop scene,
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bridging the gapbetween New York-style hip-hop
222
00:09:13,992 --> 00:09:16,495
and New Orleans' traditional rhythmsand chants.
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00:09:16,578 --> 00:09:19,873
That was a logical evolutionfor hip-hop in The Crescent City,
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00:09:19,957 --> 00:09:21,875
[xylophone plays]
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00:09:21,959 --> 00:09:24,670
But, sometimes hip-hop growsin unexpected ways,
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00:09:25,087 --> 00:09:25,921
and for NOLA,
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00:09:26,004 --> 00:09:28,465
serendipity would comein the form of an unknown record
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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."
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00:09:52,448 --> 00:09:55,075
♪Bugs can canAnd 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 NOLAto 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 betweenthe 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 thehouse 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 babyDo it baby, stick it baby ♪
307
00:12:53,545 --> 00:12:55,881
♪Do it baby, stick itStick 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 JubiDo the Jubilee All ♪
330
00:13:53,647 --> 00:13:56,066
♪Do the Jubilee AllDo the Jubilee All ♪
331
00:13:56,149 --> 00:13:58,443
♪Do the Jubi, do the JubiDo 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 babytwerk, 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 slideGiddy up, giddy up ♪
401
00:16:32,430 --> 00:16:34,891
♪I do the duckDo the duck, do the duck ♪
402
00:16:34,975 --> 00:16:37,310
♪I watch ya slideGiddy up, giddy up ♪
403
00:16:37,394 --> 00:16:39,396
♪I do the duckDo 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-orientedtempo 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 jazzand 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 Orleanswas 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 ratesin 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 iton 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 hustlerfrom 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 evenfive 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 murderat 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 recordof homicides this year.
462
00:19:18,430 --> 00:19:21,224
It has by far the highest murder rateof any big city in the nation.
463
00:19:21,850 --> 00:19:24,602
Five times the number of murdersin 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 aboutwhat 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 niggatrying 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 tomake a dollar out of 15 cent ♪
502
00:20:54,943 --> 00:20:57,987
♪The ghetto got me crazyI smell daisies ♪
503
00:20:58,071 --> 00:21:01,366
♪But I can? die tonightmy 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 dieput me in a pine box ♪
520
00:21:35,608 --> 00:21:38,611
♪Bury me like a G, 2 glocksAnd 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 meIs 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 Wardto 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 thegold and platinum tank ♪
594
00:24:50,178 --> 00:24:53,014
♪Y?ll after big thangsWe after big bank ♪
595
00:24:53,639 --> 00:24:55,641
♪Third ward hustlasSoldiers in combat ♪
596
00:24:55,725 --> 00:24:58,644
♪Convicts and dealersAnd wheelers with TRU tats ♪
597
00:24:58,728 --> 00:25:01,230
♪Never gave no damn aboutNo broads and no witches ♪
598
00:25:01,314 --> 00:25:04,192
♪And dudes come shortAnd 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' hatersBusiness to about the size of prisms ♪
612
00:25:33,805 --> 00:25:35,181
♪Our missionThey 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 getBecause 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 foesWant 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 motherfuckersthat kept it real with No Limit.
658
00:27:31,297 --> 00:27:33,674
I made my motherfucking moneythe 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 Limitput New Orleans on the map in hip-hop,
676
00:28:26,060 --> 00:28:28,896
but while No Limit's hardcore stylesold major units,
677
00:28:29,230 --> 00:28:31,232
their sound was still a departurefor 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 shortageof hard-working hustlers,
682
00:28:43,953 --> 00:28:47,331
including a pair of brothersfrom the city's tough Magnolia Projects,
683
00:28:47,415 --> 00:28:50,876
who would follow Master P's blueprintfor 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 gameand 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 realitybounce 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 prodigyof the bounce scene:
741
00:31:18,607 --> 00:31:21,193
A gold-toothed rapperwho 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 JuvenileBounce for the Juvenile ♪
744
00:31:27,450 --> 00:31:29,285
♪Bounce trickBounce, bounce, bounce ♪
745
00:31:29,368 --> 00:31:32,037
♪I say bounce for the JuvenileBounce 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 yaJuvenile will kill ya ♪
762
00:32:09,575 --> 00:32:12,119
♪I? quick for fucking ya bitchand 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 fullof that dro? ♪
808
00:33:58,017 --> 00:33:59,894
♪What kinda boy freeze shoplike a Eskimo? ♪
809
00:34:00,185 --> 00:34:02,645
♪Juvie what kinda boywanna be like me? ♪
810
00:34:02,730 --> 00:34:05,399
♪A boy that wanna go getthat ♪8 Mercedes ♪
811
00:34:05,482 --> 00:34:08,360
♪BG what kinda boy got 10round 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, lookWhat kinda nigga just dress in all black ♪
836
00:35:04,667 --> 00:35:07,419
♪Fitted hats, long flatsFour slugs, lots of tats? ♪
837
00:35:07,503 --> 00:35:10,297
♪Hold upWhat 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 truckin 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 boysThe 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 isto 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 fakewhat 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 takingover for the '99 & the 2000 ♪
919
00:38:23,115 --> 00:38:25,576
♪Girl you working with someass, 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, yeahAnd 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 youBack 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 youBack that ass up? ♪
959
00:40:06,927 --> 00:40:09,137
♪You's a fine motherfucker, won't youBack 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 labelsthat 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 stackedwere 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 measuredin hip-hop.
997
00:41:25,839 --> 00:41:27,966
It was yet another milestonefor the South,
998
00:41:28,342 --> 00:41:30,761
and further proofthat by drawing on their own history,
999
00:41:31,011 --> 00:41:33,722
the South could keep bending the contoursof hip-hop.
1000
00:41:34,681 --> 00:41:37,017
And, that's exactlywhat they were going to do.
85199
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