Tuesday, April 20
$10

In conjunction with the Ogden Museum exhibition “Where They At: New Orleans Bounce and Hip-Hop in Words and Pictures,” opening Thurs. April 22, a special screening of the definitive bounce documentary “Ya Heard Me?” (2007, 77 min.) featuring DJ Jubilee, Kilo, TTucker, Katey Red, Big Freedia, Mia X, and many more.

Discussion with filmmakers Matt Miller and Stephen Thomas, producers John and Glenda Robert (All Good in the Hood) and exhibition collaborators Aubrey Edwards (photographer) and Alison Fensterstock (journalist).

by Brett Berk March 11, 2010, 11:34 AM

You do not need to spend much time in New Orleans to realize that it occupies a unique position within the pantheon of American cities. As different from similar-sized towns like Pittsburgh as a coyote is from a mound of cottage cheese, the Big Easy is wholly it’s own scrappy, disheveled self (and I mean that as a compliment). So when, during the start of my six-month sojourn here, a friend took me to see my first Bounce show—a local form of hip-hop characterized by a machine gun-beat and na-asty lyrics—it was not that surprising that it featured openly gay artists toasting about big dicks, butts, and lots of oral. Thus began my indoctrination into the church of what folks refer to locally, but not derogatorily, as Sissy Bounce.

“It’s not Sissy Bounce,” originator of the form, and reigning queen of the scene, Katey Red schooled me, when I talked to her the other day. “It’s Bounce music. It’s just sissies doing it.” Katey, who is 6’2” and performs—and looks damn good—in short skirts and heels, was the first of the openly gay M.C.’s to get on the mic and get recognized, back in ’98 at a hall near the infamous Melpomene housing projects, where she grew up. “At first, I was a bit scared,” Katey said of performing. “I know a lot of the boys listening didn’t like homosexuals. But I got over my fright. And they liked my music so much, they was like, Fuck it.”

Katey was signed to a local Bounce label, Take Fo’, and soon other queer performers began to show up on the scene, folks like Sissy Nobby, Vockah Redu, and Big Freedia. “It’s like monkey see, monkey do,” Katey said. “I did it first, but other people took it and ran with it.” Having seen all of these artists perform, I can agree: each brings something original to the genre. Nobby is full of manic energy. Freedia riles up the crowd with call-and-response chants and hypnotic ass-shaking (and also wrote my favorite rhyme: “I got that gin in my system/Somebody gonna’ be my victim”). Vockah’s shows are elaborately choreographed and costumed, like how Ziggy Stardust would’ve ended up if he’d been raised in the Magnolia Houses. The four artists perform tirelessly, appearing solo or in combination at venues all over the city, from bars under a bridge to famed stages like Voodoo Fest and Jazz Fest. Katey, Freedia, and Nobby are guests on the new disc from local funk outfit Galactic.

They’re all also about to be featured in a new exhibit chronicling the rise of Bounce, Where They At?, which will be opening at the local Ogden Museum of Southern Art on April 22. A satellite version of this show is currently running at the Abrons Art Center at The Henry Street Settlement in NYC and one will open at the Birdhouse Gallery in Austin during South by Southwest this March, where Vockah Redu will also be performing. “I can’t even tell you about my costume for there yet,” Vockah said when I spoke with him. “But it’s crazy what I’m gonna’ have on.” If you’re at the festival, you must go and report back.

Vockah is also talking about further bending his style and teaming up with other musicians. “I’m going into a rock/futuristic thing,” he said. “So I’m looking for a band to interpret into my music.” (Stand back, George Clinton.) But even more thrilling than this news, for me, is the fact that Katey Red is forming a band. It’s not going to be rock/futuristic, or even hip-hop based. It’s going to be a marching band. For 13-25 year olds. “It’s gonna’ be called The Demolition Marching Band,” she told me as she geared up for her first round of auditions. “We’re going to have flag twirlers, step sliders, high steppers, color guards. And we’re going to have drums, trumpets, and horns, of course.”

Why would a tough-talking, cross-dressing Bounce rapper want to start a marching band? Well, these groups are like royalty down here, featured prominently in the near constant parades. And Katey has a talent that needs to be shared on her terms. “I was working with the majorettes at a local high school,” she said, “and I got tired of them kicking me around. It was from one year to the next, and I would go back one year and they’d have someone new doing it! And they don’t want to accept me for who I am and what I do—just sweating and giving my heart to these kids.” Her desire to give back and do her own thing means that she’s currently funneling much of the money she makes performing in the clubs into this new venture. “I got to find some sponsors!” she cried, asking for my help. If you ever get the privilege of seeing Katey perform, I think you’ll agree that this Demolition extravaganza must come to life in time for next year’s Mardi Gras season, so if you have any ideas, let me know and I’ll pass them on.

In the meantime, check out some of the music from these trendsetting artists. You will not be sorry.

Katey Red
Big Freedia
Sissy Nobby
Vockah Redu

Photo by Aubrey Edwards.

Brett Berk writes gaily about culture, politics, and cars for VF.com, and is the author of The Gay Uncle’s Guide to Parenting. Visit him at www.brettberk.com Or follow him on Twitter.

Photography: Aubrey Edwards

VANITY FAIR

10th Ward Buck is a man of many talents. As a recording artist, he’s best known for his breakneck-speed bounce song “Drop And Gimme 50,” which was also recorded in 2007 by Hurricane Chris and Mike Jones.

Along with business partner and playwright Lucky Johnson, he produced the popular bounce musical “Catch Dat Beat,” which ran last year at the Ashe Cultural Arts Center. He’s also a DJ and party promoter-about-town, as well as a chef – last month, he opened Finger Lickin’ Wings, a chicken and soul food joint on Jackson Avenue.

The restaurant and the lost beside it will be the location, this weekend, for New Orleans’ first-ever daylong festival of bounce, presented by Buck and Johnson – the raw, upbeat street-level party rap that exploded here in the 90’s.

The fest will open with new-school sensations like Sissy Nobby, Flipset Fred and Gotty Boi Chris, and then amp up with a late afternoon and evening set of New Orleans bounce and hip-hop pioneers like No Limit Records star Mia X, Cash Money Records’ first female signees Ms Tee and Magnolia Shorty, members of UNLV, DJ Jubilee, Willie Puckett, Partners N Crime and dozens more. At 7pm, there’ll be a reprise performance of “Catch Dat Beat,” starring rapper Big Freedia. There will be a children’s activity area, free health screening booths, and a station accepting money and canned goods donations for Haitian relief efforts.

The festival kicks off at 1 p.m. Saturday at the corner of Annunciation and Jackson Ave.

From the TP

BOUNCE FROM THE BIG EASY

As New Orleans celebrates the Saints’ Super Bowl victory, we look at bounce music, the Crescent City’s hard-partying hip-hop style. Plus: a live performance from itsnotyouitsme, a duo that blurs the boundary between classical and rock music.

Bounce Music

Best known for helping pave the way for jazz, funk and blues, New Orleans staked its claim in rap with bounce music. The raw and energetic style was first heard in songs like DJ Jimi Payton’s 1992 track “Where They At.” Journalist Alison Fensterstockand photographer Aubrey Edwards join us to talk about an upcoming exhibit about bounce.

“Where They At: A Multi-Media Archive of New Orleans Bounce” is on display at Abrons Arts Center from Feb. 11 through March 27. Click here for more information.

Click here to listen to the interview

From ebsl