![]() I NEVER DANCED IM MY FICKIN LIFE… BUT SHHHHHHHIIIIIIIIIIIIIIIIIIDDDDDDDD LET ME ENJOY THIS SHIT…. “The credits are important but, for me, it’s still putting New Orleans on the map and I’m happy with the check.” “You know, my voice be on a lot of different stuff and people want to use bounce music as a part of their music, but when it comes to the proper recognition of me being in the video, that’s something that we’re steady working towards to make it happen,” she told The Fader earlier this year. And up until “In My Feelings,” Freedia’s visual inclusion, or lack thereof, hadn’t gone unnoticed. She had a heavy-handed influence in getting the voice and the boisterous spirit of bounce onto the singles of international music behemoths like Diplo, Beyonce, and Drake. Undoubtedly, the city has Big Freedia to thank for making the masses do a double take at the rich cultural epicenter. Green considers 2018 the year New Orleans is finally picking up where it left off at the tail end of Cash Money’s early 2000s reign. I think we should be honored that people love our culture enough to want to be inspired by it. It’s all about making moves that are bigger than just the city.” “They shocked the world and went to Universal and signed a $100 million deal before anybody did it. “That whole Cash Money movement was just mind-blowing growing up here,” Morton, a former Young Money affiliate, says. ![]() From about 1998 until 2001, supergroup Cash Money Millionaires-Lil Wayne, Juvenile, B.G., Turk, Birdman and Mannie Fresh-had the world in their palms. Aside from the city’s legacy as the birthplace of jazz, anyone who perks up at the phrase “the ‘99s and the 2000s” understands one of the most major takeovers the hip-hop genre has ever seen. Whether you’re looking through the lens of music or not, it’s clear that New Orleans is in the middle of a major moment. What’s equally as unavoidable is how much closer the genre (and the culture that comes with it) is to being a household name. “They can play a bounce song in here right now and I’m going to be tapping my foot under the table, and I’m going to be talking to you just like this. “I can go to Afghanistan and play ‘Back That Azz Up’ and they going to back that a** up,” Green says, recalling the different audiences she’s had to DJ for. ![]() Like Go-Go is to Washington, D.C., and Reggae is to the islands, Bounce music in New Orleans is deeply embedded in the spirits of its people, and when it plays, they can’t help but move.īounce may be predominantly anchored in New Orleans-Baton Rouge, only an hour and a half drive away, boasts Jig, its grittier brand of club music-but its unmistakable cultural footprint isn’t defined by terrestrial borders. When you heard that Brown Beat, that instantly, in New Orleans, changes the atmosphere,” he continues, referencing one of two famed bounce beats (the other is Trigga Man). We don’t really care what everybody else is listening to, we’re still gonna have bounce songs at all our parties. “This is how we party, this is what we like. Ever since then, bounce has remained an integral part of the local community’s DNA. Mia X is No Limit, but Mia X is literally first-generation bounce music, so she started that,” says singer-songwriter-producer and Maroon 5 member PJ Morton, who was born in New Orleans East. “We got people like Cheeky Blakk and Mia X. “Everybody is happy that bounce is seeing the light of mainstream music.”ĭrake’s “Nice For What” and even more popular “ In My Feelings”-the latter’s playful new video, also directed by Karena Evans, was filmed in the streets of NOLA-both pay homage to the niche, homegrown genre that spans back to the early ‘90s. But is it actually liked here? I ask her, too. ![]() native DJ Kelly Green, who mans the turntables for NOLA rapper Curren$y and his Jet Life collective, excitingly says as she leans across the Pontilly Café countertop. “Oh my goodness! New Orleans is on fire now, especially because of ‘Nice For What.’” Baton Rouge, La. 1 on the Billboard 200 chart.) However, in reality, his locally appreciated nod to the Big Easy is a small acknowledgment of NOLA’s current main stage moment. (So far, the album, which went platinum on its release day, has spent four weeks at No. Drake’s 2018 toe-dip into bounce music with the infectious Scorpion paean was, in some corners, categorized as an extension of the vulture’s claw, readying to parade a new minority culture like a costume, claim it as his own and collect the coins from the eyes and ears it attracted.
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