“Where They At,” or “Wha Dey At,” is the title of a song generally recognized as the first bounce release, recorded in late 1991 as a cassette-only release by rapper T.T. Tucker, with the late DJ Irv. It was also recorded a few months after by DJ Jimi Payton for producer Isaac Bolden’s Soulin’ Records/Avenue Distribution. To all accounts, these recordings marked the point in time at which New Orleans rap first found its own voice in that raw, celebratory, infectious block-party style.
Bounce’s signature rhythms and call-and-response chants are deeply rooted in New Orleans’ cultural heritage, including Mardi Gras Indian and second-line traditions. The exhibit “Where They At” documents pioneering New Orleans rappers from the 1980’s, 1990’s, and early 2000’s, the period when bounce music melded and interplayed with lyrical hip-hop and gangsta rap in New Orleans to create a unique, hybrid Crescent City hip-hop sound – the newest branch of Southern roots music.
Photographer Aubrey Edwards and journalist Alison Fensterstock, over the course of 18 months, photographed and interviewed more than 40 rappers, DJs, producers, label and record store owners from the New Orleans bounce and hip-hop music scene. This archive includes original portraits and interview excerpts, original video and audio, and collected artifacts including vintage records, tapes, scene snapshots and other ephemera.
Alison Fensterstock is a New Orleans-based music journalist. From 2006-2009, she wrote an award-winning music column for the city's alt-weekly, The Gambit. Her writing on roots music and New Orleans rap has appeared in MOJO, Vibe, Q, Paste, Spin and the Oxford American Music Issue. Recently, she wrote the text for "Unsung Heroes: The Secret History of Louisiana Rock n' Roll," an exhibit currently on display at the Louisiana State Museum. She is the programming director for the Ponderosa Stomp Foundation. Her Gambit cover story on gay and transgendered bounce artists in New Orleans, "Sissy Strut," was selected for an honorable mention in Da Capo Press's Best American Music Writing 2009.
Aubrey Edwards is a Brooklyn and New Orleans-based music photographer and educator. Edwards was an award-winning, primary music photographer for the alt-weekly Austin Chronicle from 2004-2008; her present client list includes the United Nations, Magnolia Pictures, Playboy, SPIN, XXL and Comedy Central. She teaches photography and videography in low-income NYC public schools, and runs a continued education photography school in downtown Brooklyn. Her recent work in New Orleans includes guest lecturing with the University of New Orleans photo department, conducting workshops with the New Orleans Kid Camera Project, and completing an artist residency with Louisiana Artworks.
Abita Beer, Abrons Art Center, Adrian Saldana, Alex Rawls & OffBeat magazine, Austin Powell, Chris Robinson, Colin Meneghini, Dr. Ira Padnos & The Ponderosa Stomp, Emil Nassar, Eric Brightwell, Heather West, Iris Brooks, Jacob Devries, Jayme McLellan & Civilian Art Projects, Jeremy Smith, John and Glenda "Goldie Roberts", John Swenson, Johnathan Durham, Jordan Hirsch & Aimee Bussells, Loren K. Phillips Fouroux, Matt Miller, Matt Sakakeeny PhD, Matt Sonzala, Michael Bateman, Neighborhood Story Project, Our Kickstarter Supporters, Patrick Strange, Polo Silk, Rachel Ornelas & the Jazz and Heritage Festival, Scott Aiges, Sean Yent Schuster-Craig, Stephen Thomas, The Birdhouse Gallery, The Soap Factory, Wild Wayne & Industry Influence
D. Lefty Parker | Audio Mastering
Erik Kiesewetter/EBSL | Art Direction & Design
Rami Sharkey | Web Development
Jac Currie & Defend New Orleans | Funder
The Greater New Orleans Foundation | Funder
Ogden Museum of Southern Art | Partner
All the project participants who shared their time, their words, and their support.
“Make the coochie scream for a six-inch stick? /
I pushed an eight-pound baby out, so that’s bullshit.”
By the time I heard my first hip-hop record it was 1979. My mom bought the record for me. On the flip side of the record was the Sequence. Angie Stone was a member of the Sequence. She is one of our first lady rappers. They had a song called, "Funk You Up," and "Funk You Up" convinced me that girls could do rap music. I started writing my rap music down. I was nine years old.
Mannie Fresh and I grew up around the corner from each other, and Mannie's dad had bought him a Casio keyboard. He had turntables. We would go in his room and he would be messing with the turntables and I was like, "I could rap" and he was like, "Well, I know this guy named Denny D, he moved here from Queens, and we have a crew called New York Incorporated and we’re giving dances at the Pentagon." Now the Pentagon is the big gray building on A.P Tureaud. It’s another club now, but it was called the Pentagon. So he said, "We're looking for rappers, so come Saturday and get on the stage.” I was like, "Okay." And Denny D was like, "I like her. She can be the girl down with the crew." So I became a B-girl in 1984.
The unladylike mentality is, we go to work. We raise families. We have businesses. We balance femininity and strength. That is what unladylike is. It’s not uncouth. It’s not vulgar. It’s when you get on the microphone and somebody says, "A girl said that and nobody wrote it?"
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Enoja, Lamina, Slaughterhouse, No Limit
1993 - present
Master P, Soulja Slim, Snoop Dogg, The Ghetto Twiinz and others