Ya Hoidz Me? – Talk About Bounce Music

A2BD23FC-5F80-47D4-825C-D562B8EAAE3AI happened upon this genius of a writer searching for “Old School Nola “ pics and I’m hooked and you will be too! He has an encyclopedia of articles, documenting the history of the New Orleans Rap and Bounce scene plus many other topics as well.

But let’s get to reading about all things Nola Bounce over the years compliments of Eric Caldwell.

Uptown New Orleans

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

New Orleans’s Pre-Bounce Background

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






Ya Hoidz Me? – Talk About Bounce Music

Source and Credit Eric Brightwell

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