“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.
“Them hoes from the 9th Ward don’t give a fuck about ya.”
I'm from where I'm at now, the Lower 9th Ward. Downtown. CTC. this is where I'm from, the 9th Ward. Across the Canal, Cutthroat City – CTC. I had my son at the age of 14. Pimp Daddy was my first. John McDonogh Senior High, 1992 I graduated. Did that. Next, Delgado Charity School of Nursing. I got a degree with that as an RN. Did that. Now I’m in school for pharmacy.
The first moment when I wanted to do music was when me and my son’s father got into it. He was like, "I feel like this. You need to go ahead on and finish school and I'm going to take care of him." I said, "How are you going to take care of him if you be out there doing your thing?" That’s how the beef thing came about, as far as him writing a song about me.
I said, "You better do whatever you’re going to do - let me do me." He said, "All right. I'm going to write a song about you." I said, "All right you write a song about me. You already know I'm going to deal with you." He came out with the song. It was called, "Boo-Koo Bitches." It really tripped me out to this day. "Here's another ho by the name of Cheeky Blakk." I swear. He was on Cash Money. I was like, "Okay, that's how you want to play, all right. I'm going to play. ‘Well, Pimp Daddy/ it's about that time/ Cheeky Blakk tell you ‘bout your funny, fake-ass rhymes.’" I'm just going at it. We did the club the End Zone one time. Boy, we were going at it. They was like, ‘Uh-uh, y’all is going to take your family dispute out of here.’ That’s how I got known for battling males.
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Mobo, Tombstone, Total Respect
1995 - present
Mannie Fresh (producer), Rebirth Brass Band, Galactic