#NOLAZINE - When R&B legend Aaliyah tragically passed away in a plane crash in 2001, the world was devastated. At just 22 years old, she had already left an extraordinary impact on music, fashion, and pop culture. As fans and fellow artists mourned, a heartbreaking detail emerged behind the scenes—Aaliyah’s record label allegedly backed out of paying the $68,000 required for her funeral expenses. In the midst of this tragedy, one of Aaliyah’s peers stepped up in a quiet, powerful way. Maxwell, the Grammy-winning R&B singer known for timeless hits like “Ascension” and “Fortunate,” privately paid for Aaliyah’s funeral without seeking any publicity or recognition. His silent gesture spoke volumes, not just about his character, but about the deep bonds that exist within the R&B community. This wasn’t about headlines. It was about honoring a friend and ensuring her family didn’t carry the financial weight during a time of unimaginable grief. Maxwell’s act of compassion allowed Aaliyah’s loved ones to focus on giving her the farewell she deserved. Though it remained largely unknown to the public for years, the story has since surfaced as a reminder of the genuine love and respect artists have for one another—especially in moments of tragedy. Maxwell didn’t do it for praise. He did it because Aaliyah was one of them—a sister, an icon, a soul gone too soon. This selfless act only adds to Maxwell’s legacy—not just as a gifted artist, but as a man of integrity and heart.

#NOLAZINE - In the rich history of New Orleans hip-hop, few artists represented the spirit, resilience and authenticity of the city quite like Tre-8. Born Walter McCallon, the talented rapper rose from the Christopher Homes development in Algiers and earned recognition as one of the Westbank’s most respected voices. Tre-8’s journey was more than a pursuit of fame. It was the story of a young artist who used music to document his surroundings, express his reality and contribute to a movement that would eventually introduce New Orleans rap to listeners across the country. From the Westbank to the Music Industry Tre-8 displayed his musical abilities long before beginning his recording career. As a high school student, he performed in the marching bands at L.B. Landry and O. Perry Walker high schools. Those experiences helped him develop the rhythm, discipline and confidence that later became important parts of his career as a rapper. His recording journey began with the WestBank Coalition, a group that included artists such as J’ Ro’ J, Ice Mike and T. Smooth. Performing under the name MC P, Tre-8 began establishing himself during an important period in the development of New Orleans hip-hop. The city’s rap scene was still building its identity, but artists from neighborhoods across New Orleans were already creating distinctive music rooted in their everyday experiences. Tre-8 became part of that foundation by delivering honest lyrics with the confidence and intensity associated with the Westbank. Joining No Limit Records Tre-8 reached a significant milestone in 1995 when, at only 16 years old, he became one of the early artists to release an album through Master P’s No Limit Records partnership with Priority Records. His debut solo album, Ghetto Stories, introduced Tre-8’s voice to a larger audience. The project showcased his sharp delivery, street-centered storytelling and ability to transform real-life experiences into music. The album reportedly reached No. 84 on the Top R&B/Hip-Hop Albums chart, giving the young rapper an early taste of national recognition. Tre-8’s time with No Limit was brief, but his place in the label’s early history remains important. He was part of the company during the period before No Limit became one of the most dominant independent forces in hip-hop. While many listeners associate No Limit with its later commercial success, Tre-8 represented an earlier chapter in the label’s story—a time when Master P was building the foundation of an empire and introducing a new generation of New Orleans talent to the world. Continuing the Grind Tre-8 refused to allow his departure from No Limit to end his career. Instead, he continued recording and releasing music independently. In 1997, he released Dey Scared of Me through Smoke 1 Records. He followed that project with Nuttin But Drama in 1998 through South Coast Music Group. These releases demonstrated his determination to keep moving forward while maintaining the raw sound that originally attracted listeners to his music. His work with mentor and producer Ice Mike also resulted in underground favorites such as “Slammin Theez Hoez,” “Ghetto,” “Do ’Em Dirty” and “True 2 da Game.” These records strengthened Tre-8’s reputation as a fearless lyricist who refused to water down his experiences. Tre-8’s music captured the unfiltered energy of New Orleans street rap during the 1990s. His lyrics reflected struggle, ambition, survival and the realities of the neighborhoods that shaped him. Rather than presenting an artificial image, he allowed listeners to hear the world from his perspective. A Respected Collaborator Tre-8’s influence extended beyond his solo catalog. He worked with several New Orleans artists and groups, including Bigg Herb, the Ghetto Twiinz and Code 6. His involvement with Code 6’s Let’s Go Get ’Em album further demonstrated his commitment to collaboration and community. Tre-8 understood that the growth of New Orleans hip-hop depended on artists supporting one another and building opportunities together. That collaborative spirit helped make him an important figure within the city’s underground rap network. He was not simply pursuing an individual career; he was contributing to a larger movement that helped establish New Orleans as one of the South’s most influential music cities. Love, Loss and Personal Tragedy Behind the music, Tre-8 experienced tremendous personal loss. During the early 1990s, he married fellow rapper Cicely Crawford McCallon, professionally known as Ju’C. Their relationship connected two artists who were each part of New Orleans’ growing hip-hop culture. Tragically, Ju’C was shot and killed in 2009. Her death brought devastating grief into Tre-8’s life and added another painful chapter to a journey already shaped by hardship and survival. Only two years later, the New Orleans music community would suffer another heartbreaking loss. On May 28, 2011, Tre-8 passed away from complications related to a car accident in Algiers. His death shocked the city’s underground hip-hop community and silenced one of the Westbank’s most authentic voices. A Legacy That Still Lives Although Tre-8’s life and career ended too soon, his music continues to hold an important place in the history of New Orleans rap. Projects such as the tape-only Ruff Rugid & Raw, recorded with the Smoke 1 Click, remain treasured underground releases for listeners who appreciate the uncompromising sound of 1990s Southern hip-hop. His catalog represents a period when local artists built their reputations through neighborhood support, independent releases, cassette tapes and word of mouth. Tre-8 helped create a blueprint for the generations that followed him. His work demonstrated that an artist from the Westbank could tell his own story, maintain his identity and reach listeners far beyond New Orleans. At Nolazine, we believe preserving stories like Tre-8’s is essential. New Orleans hip-hop history extends far beyond its biggest commercial names. It also belongs to the pioneers who helped build the culture before the world fully recognized what the city had created. Tre-8 was one of those pioneers. He was a rapper, musician, collaborator and representative of Algiers. Most importantly, he was a true product of New Orleans whose music carried the raw emotions, struggles and strength of his community. As listeners revisit his albums and younger generations discover his contributions, Tre-8’s name deserves to remain part of every serious conversation about the foundation of New Orleans hip-hop. Tre-8 was more than an artist. He was a pillar of the culture and a true Knight of the Westbank whose music and spirit continue to live on. Rest in power, Tre-8.

#NOLAZINE - Eddie Murphy’s iconic 1988 comedy Coming to America is remembered for its legendary cast, timeless humor, and unforgettable romance between Prince Akeem and Lisa McDowell. But what many fans don’t know is that the role of Lisa was originally intended for a different leading lady: Lisa Lisa, the chart-topping music sensation from Lisa Lisa and Cult Jam. At the height of her fame in the late 1980s, Lisa Lisa—known for hits like “I Wonder If I Take You Home” and “Head to Toe”—was not only dominating the airwaves but also catching the attention of Hollywood. So much so that Eddie Murphy himself personally handpicked her to star opposite him as his love interest in what would become one of his most celebrated films. Lisa Lisa had the charisma, the star power, and the beauty to take on the role of Lisa McDowell—a strong, independent New Yorker who captures the heart of an African prince. The casting would have paired two major pop culture figures of the era and could have taken her career in an entirely new direction. But behind the scenes, a very personal factor led to her turning down the opportunity of a lifetime. According to sources, Lisa Lisa declined the role because her then-husband disapproved of her taking on such a high-profile part—particularly one involving romantic scenes. Ultimately, the part of Lisa McDowell went to Shari Headley, whose performance became central to the film’s enduring charm. Headley’s portrayal brought grace and authenticity to the character and helped solidify Coming to America as a classic. Still, fans can’t help but wonder what might have been. Had Lisa Lisa accepted the role, it’s possible her trajectory in entertainment would have expanded beyond music into mainstream acting. The combination of her star appeal and Murphy’s comedic genius could have added a new dynamic to the film, offering a different kind of chemistry and spotlight. While Shari Headley’s performance remains beloved, this bit of Hollywood history adds an intriguing layer to the film’s legacy. It’s a reminder of how off-screen decisions—personal or professional—can shape the stories that become cultural landmarks. Today, both Lisa Lisa and Coming to America are celebrated icons of their era. One ruled the music charts, the other helped define a generation of comedy. And though their paths didn’t cross on the big screen, the story behind the casting remains a fascinating footnote in the making of a classic film. Sometimes, what almost happened is just as interesting as what did.

#NOLAZINE - The vibrant streets of New Orleans have long been fertile ground for hip-hop innovation, cultivating legends who shaped not just the local scene but influenced the genre on a national scale. Among these influential pioneers was Pimp Daddy—a charismatic rapper whose life was tragically cut short, yet whose contributions remain deeply embedded in the DNA of New Orleans hip-hop. Born and raised in New Orleans, Pimp Daddy emerged at a time when the city’s unique bounce sound was beginning to gain momentum. Known for blending the rhythmic pulse of bounce with the grit of gangster rap, Pimp Daddy quickly distinguished himself. His first taste of the spotlight came via Lil Slim’s “The Game is Cold,” a track released through the then-fledgling Cash Money Records. But it was his 1993 single “Got To Be Real” on Pack Records that truly marked his breakout. The song featured a bounce-infused sample of Undisputed Truth’s “(I Know) I’m Losing You,” a nod to both New Orleans roots and West Coast influence—specifically Snoop Dogg and Dr. Dre’s hit “Deep Cover.” The track was a local hit and built anticipation for his 1994 debut album, “Still Pimpin’.” That project showcased his lyrical skill and streetwise charm, solidifying his status as one of the most promising voices in the city. More than just a rapper, Pimp Daddy was a cultural symbol. His name and image adorned walls in the form of graffiti, a testament to his connection with the streets. He was affectionately referred to by peers as one of the “original Hot Boys,” a title that predates the later Cash Money supergroup of the same name. His style, charisma, and authenticity were emblematic of an era and movement that would go on to produce megastars like Juvenile, B.G., and Lil Wayne. On April 18, 1994, the New Orleans hip-hop community was shaken by tragedy when Pimp Daddy was shot and killed in the Florida Projects. He was just 18 years old. The details surrounding his death have long been clouded by rumor and speculation—allegedly involving a romantic entanglement and tensions with fellow bounce artist Cheeky Blakk. The exact motives remain unclear, but the loss was deeply felt. According to close friend and collaborator Lil Slim, the aspiring artist had faced multiple personal struggles leading up to his death. Cash Money Records, recognizing both his talent and potential, paid for his funeral—a small yet telling gesture of the respect he had garnered in such a short time. Though his career lasted only a few years, Pimp Daddy's impact on New Orleans hip-hop remains immeasurable. His fusion of bounce and gangster rap helped lay the foundation for the unique sound that defines the city’s music scene to this day. His early association with Cash Money Records places him at the genesis of one of hip-hop’s most influential dynasties. More than three decades later, Pimp Daddy’s name still resonates—among fans, artists, and historians of Southern rap. His story is a sobering reminder of both the promise and peril faced by young artists navigating fame in a turbulent environment. But it’s also a story of innovation, passion, and cultural imprint. Though gone far too soon, Pimp Daddy lives on through the music, the memories, and the legacy he helped build—an icon whose voice still echoes through the streets of New Orleans.

#NOLAZINE - In an era where studio perfection often takes days or even weeks to achieve, legendary R&B singer Regina Belle delivered vocal excellence with remarkable ease. Her beloved hit "Baby Come to Me" was recorded in just two takes, showcasing her raw talent and seasoned musicianship. Released in 1989, "Baby Come to Me" quickly became one of Belle’s signature songs, a smooth and sultry ballad that showcased her powerful yet delicate vocal tone. The track climbed the charts and solidified her place in the pantheon of great R&B vocalists. What makes this achievement even more astounding is the emotional depth and technical precision Belle brought to the performance. Recording a song in just two takes is rare, especially for a track that would go on to become a classic. It speaks not only to her vocal control but also to her deep connection to the material. Belle’s ability to deliver a flawless, heartfelt performance so quickly is a testament to her years of experience as a jazz and gospel vocalist. Over the years, Regina Belle has built a reputation for blending gospel roots with jazz and R&B sensibilities. Her career has included hits like “Make It Like It Was” and “If I Could,” and she even took home a Grammy for her duet with Peabo Bryson on the Aladdin theme song “A Whole New World.” But “Baby Come to Me” remains a standout moment—not just in her discography, but in the history of soul music. And knowing it only took two takes to create such magic? That’s the mark of a true legend.

#NOLAZINE - Born on February 19, 1978, in the heart of New Orleans, Louisiana, 5th Ward Weebie—real name Jerome Cosey—was more than a bounce music pioneer; he was a cultural icon whose infectious energy, creative genius, and relentless drive shaped the sound and spirit of an entire genre. Known affectionately as the “King of Bounce,” Weebie’s legacy still echoes through speakers and second lines across the Crescent City. Weebie’s path to greatness was paved with an unshakeable work ethic. Always grinding, always creating—he believed in staying busy and productive as a way of life. Whether in the studio or on stage, he pushed boundaries with his music and refused to become complacent. His tireless commitment to innovation helped push bounce music from New Orleans’ neighborhoods to international stages. Early in his career, Weebie was influenced by legendary New Orleans artists like Magnolia Slim (Soulja Slim) and B.G. These figures not only shaped his musical foundation but also inspired him to bring his own unique flavor to the game. Weebie added his signature flair to bounce, injecting humor, storytelling, and hard-hitting club anthems that became staples in New Orleans culture. Throughout his career, 5th Ward Weebie worked with a range of artists—from C-Murder to global superstar Drake. He understood the power of collaboration and the importance of community in the music industry. These connections weren’t just business moves—they were rooted in shared vision and respect for artistry. Weebie was more than just a performer; he was a mentor. He often shared advice for upcoming artists, urging them to believe in themselves, stay focused, and pay attention to audience reactions. He emphasized learning how to read a crowd through body language—a skill that helped him craft music that resonated across every dance floor and parade route in the city. On January 9, 2020, the music world lost a titan. But the legacy of 5th Ward Weebie lives on, not only through his unforgettable hits like “Let Me Find Out” and “F*** Katrina,” but through the vibrant bounce culture he helped elevate to national recognition. His work was never about trends—it was about preserving a culture, uplifting a community, and bringing people together through rhythm and soul. Today, when bounce beats blare through New Orleans streets or festivals across the world, the spirit of 5th Ward Weebie is alive and well. He wasn’t just a king in title—he was royalty in rhythm, passion, and perseverance. Long live the King of Bounce.Follow his legacy and keep the culture alive better yet keep that five alive.

#NOLAZINE - At just 16 years old, Red Top defied all odds, amassing a fortune that made her a teenage millionaire and leaving a mark on Harlem’s history that still resonates today. Known for her extravagant lifestyle, she was a striking sight, often arriving at school draped in fur coats, confidently boasting to her teachers that she could make $300,000 in a single month. Her generosity matched her wealth — she frequently treated teachers and classmates to lavish shopping sprees, sharing her good fortune with those around her. Red Top’s meteoric rise was fueled by her close ties to Harlem’s underworld power players. Earning the respect of kingpins Frank Matthews and Frank Lucas, she was given an unusual mark of authority: the right to stamp her work with “DOA” — Dead on Arrival. Her beauty was equally as legendary as her hustle, sparking envy and even tensions between prominent figures like Peewee Kirkland and Freddie Myers. She moved effortlessly among Harlem’s elite, rubbing shoulders with names like West Indian Chuck, Stevie Baker, and Cisco Kid, cementing her reputation as a true player in the game. But her life, as vibrant as it was, met a tragic end. In a cruel twist of fate, Red Top was accidentally caught in the crossfire between Black Sunday — the bodyguard of drug lord Nicky Barnes — and a man who owed Barnes money. The bullet that took her life ended the reign of Harlem’s young queenpin at just 17 years old. Her funeral was a grand affair, befitting her status. Nicky Barnes spared no expense, even paying Sammy Davis Jr. to perform, while Harlem’s most notorious figures came to pay their respects. After her passing, her family discovered $4 million hidden in one of her Riverdale condos, along with two Cadillacs — one sleek black and the other with striking white-and-red interiors — symbols of the empire she had built before adulthood. Maxine “Red Top” Walters’ story is one of ambition, charisma, and tragedy — a rare tale of a young woman who conquered Harlem’s streets in an era dominated by men, only to fall victim to the same world that made her a legend. Her name still echoes in Harlem’s history as a reminder of both the allure and the dangers of the game.

#NOLAZINE - In 1977, while most teenagers were figuring out life after high school, an 18-year-old musical prodigy from Minneapolis named Prince Rogers Nelson was already rewriting the rules of the music industry. That year, Prince signed a groundbreaking six-figure, three-album deal with Warner Brothers Records—but what truly made the deal historic was the unprecedented creative control it granted him. Prince’s contract gave him producer rights, allowing him to be in full control of the music he created—a rarity at the time, especially for an artist so young and completely unknown to the mainstream. It was a bold move that signaled to the world that Prince wasn’t just another performer; he was a visionary. In 1978, Prince released his debut album For You, and it was clear he was in a league of his own. He didn’t just sing the songs—he wrote, composed, arranged, and played every one of the 27 instruments featured on the album. From drums to guitar to synths and strings, the album was a solo masterpiece, showing that Prince was far more than a singer—he was a self-contained creative powerhouse. His follow-up, the self-titled Prince (1979), only cemented this fact. Once again, Prince took full control of production, songwriting, and arrangements, proving that his debut was no fluke. With hits like “I Wanna Be Your Lover”, the album catapulted him into the spotlight, showcasing his genre-defying style and magnetic presence. Prince’s relationship with Warner Brothers lasted for 18 years, during which he released a string of groundbreaking albums including 1999, Purple Rain, Sign o’ the Times, and Diamonds and Pearls. But despite the success, tensions began to mount behind the scenes. Prince famously grew frustrated with Warner Brothers’ control over his master recordings and release schedule. The conflict reached a boiling point in the early ’90s, leading him to change his name to an unpronounceable symbol in protest, and famously writing “slave” on his face during public appearances. By 1996, Prince officially parted ways with Warner Brothers, declaring independence and reclaiming ownership of his creative direction. It marked a new chapter in his career, one that would see him champion artist rights and control over intellectual property for years to come. Prince’s 1977 deal wasn’t just a personal win—it was a game-changer for artist empowerment. He proved that a young, Black artist from the Midwest could demand—and receive—creative control from a major label, opening doors for future generations of musicians. His early career stands as a testament to his unmatched drive, brilliance, and refusal to compromise. Prince didn’t just want to make music—he wanted to own it, shape it, and redefine what was possible. And he did. 🎵 Long live the Purple One.

#NOLAZINE - During the 1990s, New Orleans developed one of the most competitive and independent rap scenes in the country. No Limit and Cash Money eventually became the city’s most successful labels, but dozens of smaller companies were also documenting life across its neighborhoods. One of the artists who emerged from that underground movement was Dolamite, a rapper from New Orleans’ 3rd Ward who released music through RedRum Records. Born Marvin Skinner, Dolamite delivered street-centered lyrics with a confident New Orleans flow. Although his official catalog was limited, songs such as “Hustlas” and “3rd Ward on My Mind” helped him earn recognition among collectors and longtime fans of Louisiana rap. Representing the 3rd Ward Dolamite came from New Orleans’ 3rd Ward, an area that has produced numerous influential rappers, musicians and cultural figures. During the 1990s, New Orleans artists strongly identified with their wards, housing developments and individual blocks. Those neighborhood affiliations became an important part of the music. Dolamite proudly represented Uptown and the 3rd Ward throughout his recordings. Instead of attempting to imitate artists from New York, California or Atlanta, he created music that reflected the attitude and language of his own environment. His records discussed hustling, neighborhood life, survival and the pressures surrounding young Black men in New Orleans. The production was dark, bass-heavy and designed to connect with listeners familiar with the city’s streets. Signing With RedRum Records Dolamite became part of RedRum Records, an independent New Orleans label founded by Malcolm Perry. RedRum was active during the mid-1990s and developed a roster that included Dolamite, Big Heavy, Face Forever and other local performers. Like many independent Southern labels of that period, the company operated without the national distribution or marketing budgets available to major artists. Despite those limitations, RedRum released several projects that have become valuable pieces of New Orleans rap history. The label’s music represented a darker side of the city’s sound. While bounce music was built around energetic dancing and call-and-response chants, RedRum focused more heavily on gangsta rap, street stories and the realities of neighborhood life. 3rd Ward on My Mind Dolamite released the EP 3rd Ward on My Mind in 1995. The project featured “Blowed,” “3rd Ward on My Mind” and “Hustlas,” along with an introduction from Mike Dog. The EP introduced Dolamite as a rapper dedicated to representing the people and culture around him. “3rd Ward on My Mind” served as a neighborhood anthem. Its title expressed the strong connection between Dolamite and the community that shaped him. However, “Hustlas” became one of the recordings most closely associated with his name. The song’s memorable chant and raw street atmosphere captured the sound of underground New Orleans rap during the mid-1990s. The EP was released before online streaming and social media made it possible for independent artists to reach worldwide audiences. Dolamite’s music initially circulated through physical CDs, cassette tapes, local record stores and word of mouth. That limited distribution has made original copies of his projects difficult to find today. The Good Ol’Dayz Ruff-N-Da Ghetto In 1997, Dolamite released his full-length album, Ruff-N-Da Ghetto. The project expanded on the sound and themes introduced through 3rd Ward on My Mind. Its track list included “Big Ballin With Red Rum,” “Ruff-N-Da Ghetto,” “Conclusion (Uptown 3rd Ward),” “Spitting Boo-Koo Game,” “Hustler 1” and “Stress Got Me Tripping.” The album also included records such as “Caught Up,” “6 Feet Deep,” “Holla at Me” and “Bring It On.” The title Ruff-N-Da Ghetto reflected the environment that inspired Dolamite’s music. His lyrics did not present the streets as a simple fantasy. They also acknowledged stress, danger and the possibility of becoming trapped in a difficult lifestyle. The project showed that Dolamite could carry a complete album while staying committed to the raw identity that made his earlier EP memorable. Working With Other New Orleans Artists Dolamite’s importance extended beyond his solo projects. He appeared on releases by other artists connected to New Orleans’ independent rap community. His credits included collaborations with performers such as Big Heavy and other artists associated with RedRum Records. In 1996, Big Heavy released Doggin’ ’Em, another RedRum project from the same underground scene. Dolamite and Big Heavy represented a period when rappers frequently collaborated across small local labels without receiving much attention outside Louisiana. These connections helped create a network of artists whose music documented neighborhoods that national record companies were largely ignoring. Although many of these projects never entered the Billboard charts, they became locally important because listeners heard their lives, language and communities represented. New Orleans Rap Beyond No Limit and Cash Money Dolamite’s story is an important reminder that New Orleans hip-hop history is much larger than its most famous record companies. By the time Master P and Cash Money Records gained national recognition, a strong underground scene was already operating throughout the city. Independent labels such as Parkway Pumpin’, Big Boy, Take Fo’, Tombstone, Mobo and RedRum were recording artists with different interpretations of New Orleans life. Some specialized in bounce. Others focused on lyrical rap, horror-influenced music or gangsta rap. RedRum Records occupied a gritty street-rap lane, and Dolamite became one of the label’s recognizable voices. His music helped document the 3rd Ward from the perspective of someone who understood the community. A Limited but Memorable Catalog Dolamite never released a large collection of nationally distributed albums. His recognized solo catalog is centered primarily on 3rd Ward on My Mind and Ruff-N-Da Ghetto. However, the amount of music an artist releases does not always determine that artist’s cultural importance. For collectors of rare Southern rap, Dolamite’s recordings represent a specific moment in New Orleans history. They capture the period before streaming, when local rappers had to press their own physical projects and build an audience neighborhood by neighborhood. Years later, songs such as “Hustlas” began appearing on digital collections and New Orleans bounce compilations. Those reappearances introduced Dolamite’s voice to listeners who may have missed his original releases. Dolamite’s Place in New Orleans Hip-Hop Dolamite may not have achieved the commercial success of Master P, Juvenile or Mystikal, but his music remains part of the city’s larger story. He represented the 3rd Ward, helped define RedRum Records and created music that preserved the atmosphere of underground New Orleans during the 1990s. His career also demonstrates why documenting local artists is so important. Without record collectors, longtime fans and online music archives, many independent releases from that era could easily disappear. Dolamite was part of a generation that created music without guaranteed radio play, major distribution or national media coverage. Those artists recorded because they wanted their neighborhoods and experiences to be heard. For anyone studying the complete history of New Orleans rap, Dolamite and 3rd Ward on My Mind deserve a place in the conversation. His catalog was small, but his music carried the unmistakable sound and spirit of Uptown New Orleans.

#NOLAZINE - During the early 1990s, Color Me Badd became one of the biggest vocal groups in the world. With its combination of R&B harmonies, pop melodies, new jack swing production and hip-hop-inspired style, the quartet produced several records that helped define the decade. Bryan Abrams, Mark Calderon, Sam Watters and Kevin Thornton appeared to have everything needed for a long career. They had international hits, platinum albums, major award nominations and a fan base that crossed musical and cultural boundaries. However, changing musical trends, personal struggles and disagreements among the members eventually caused Color Me Badd’s original lineup to fall apart. So, whatever happened to Color Me Badd? The Group Started in Oklahoma City Color Me Badd formed in Oklahoma City during the mid-1980s. The original members met while attending Northwest Classen High School, where they participated in the school choir. Bryan Abrams and Kevin Thornton had known each other since junior high school, while Mark Calderon and Sam Watters had been friends since elementary school. The singers were influenced by groups such as the Temptations, the Four Tops, New Edition and New Kids on the Block. They developed their harmonies by singing together at school and performing a cappella. Originally calling themselves Take One, the members changed their name to Color Me Badd to avoid confusion with the gospel group Take 6. Instead of waiting for a record company to discover them, the young singers developed a bold strategy. Whenever a major entertainer visited Oklahoma City, they attempted to meet that performer and sing for them. Their persistence paid off when they performed for Robert “Kool” Bell of Kool & the Gang. Bell helped connect the group with people in the music industry, eventually leading to a recording contract with Giant Records. “I Wanna Sex You Up” Made Them Superstars Color Me Badd received its breakthrough opportunity when the group recorded “I Wanna Sex You Up” for the 1991 movie New Jack City. Produced by Dr. Freeze, the song blended romantic R&B singing with the rhythm and attitude of new jack swing. It became one of the biggest records from the movie’s soundtrack. “I Wanna Sex You Up” reached No. 2 on the Billboard Hot 100 and topped the R&B chart. It also reached No. 1 in the United Kingdom and New Zealand. The song became so successful that Giant Records rushed Color Me Badd into the studio to complete a full album. The Success of C.M.B. Color Me Badd released its debut album, C.M.B., in July 1991. The group reportedly recorded much of the project in only a few weeks, but the rushed schedule did not prevent it from becoming a tremendous success. The album reached No. 3 on the Billboard 200, earned triple-platinum certification in the United States and sold millions of copies worldwide. The group followed “I Wanna Sex You Up” with “I Adore Mi Amor,” a romantic ballad that reached No. 1 on both the Billboard Hot 100 and R&B chart. “All 4 Love” gave Color Me Badd another No. 1 pop hit. The album also produced the successful singles “Thinkin’ Back” and “Slow Motion.” Color Me Badd was suddenly competing with groups such as Boyz II Men, Bell Biv DeVoe and Jodeci during one of the strongest periods in R&B history. The group received Grammy nominations for Best New Artist and Best R&B Performance by a Duo or Group. “I Wanna Sex You Up” also won major honors at the Soul Train Music Awards and American Music Awards. Color Me Badd Tried to Change Its Image Following the enormous success of its debut, Color Me Badd released Time and Chance in 1993. The group attempted to create a more mature and street-oriented sound. The project included production from respected names such as Jimmy Jam and Terry Lewis, DJ Pooh and David Foster. The singles “Time and Chance” and “Choose” both reached No. 23 on the Billboard Hot 100. Despite those respectable chart positions, the album did not approach the sales of C.M.B. The music industry was changing quickly. Gangsta rap and grunge were becoming dominant, while R&B groups such as Jodeci were presenting a tougher and more emotionally intense image. Color Me Badd found itself caught between pop, R&B and hip-hop. The group was still successful, but it no longer controlled the charts the way it had in 1991. “The Earth, the Sun, the Rain” Color Me Badd returned in 1996 with its third studio album, Now & Forever. The album included contributions from Babyface, Jon B., Narada Michael Walden and Nathan Morris of Boyz II Men. Its biggest single was “The Earth, the Sun, the Rain,” a polished ballad that reached No. 21 on the Billboard Hot 100. The project also included “Sexual Capacity,” a song co-written and produced by a young Robin Thicke, who was credited as Rob Thicke at the time. Although the album performed well in certain international markets, including Japan, Color Me Badd’s commercial momentum in the United States continued to decline. The group moved to Epic Records and released Awakening in 1998. Its lead single, “Remember When,” reached No. 48 on the Hot 100, but the album failed to restore the group’s earlier popularity. Why Did Color Me Badd Break Up? By the late 1990s, the four members were moving in different directions. Kevin Thornton left to pursue Christian ministry. Sam Watters wanted to focus on songwriting and music production. Bryan Abrams was reportedly dealing with alcohol-related problems, while Abrams and Mark Calderon were the only two members still attempting to hold the group together. Color Me Badd officially separated after the release of Awakening. The breakup was not caused by one single incident. Declining record sales, industry changes, personal issues and conflicting career goals all contributed to the original lineup ending. What Happened to Sam Watters? Sam Watters created one of the most successful post-group careers of any Color Me Badd member. He became an accomplished songwriter and producer, working with artists such as Céline Dion, Fantasia, Jessica Simpson, Kelly Clarkson, Anastacia, Natasha Bedingfield and Jordin Sparks. Watters helped write and produce Jessica Simpson’s breakthrough single “I Wanna Love You Forever.” He also co-wrote Céline Dion’s “I Surrender” and Fantasia’s No. 1 single “I Believe.” His work behind the scenes proved that his musical talent extended far beyond singing in Color Me Badd. Kevin Thornton Entered the Ministry Kevin Thornton left the original lineup in 1998 and pursued a life in Christian ministry. He worked as a minister, youth pastor and worship leader and later released gospel-influenced solo music. Thornton briefly returned to Color Me Badd during its reunion period but eventually separated from the group again. The current Color Me Badd organization states that Thornton left in 2016 and is no longer involved in its touring, management or business operations. Bryan Abrams’ Personal Struggles Bryan Abrams was one of Color Me Badd’s most recognizable voices and sang lead on several of its biggest songs. After the original breakup, he released solo material and later appeared on the VH1 reality series Mission: Man Band. The program followed former members of famous vocal groups as they attempted to create a new act. Abrams eventually reunited with Mark Calderon to perform as Color Me Badd. However, his struggles with alcohol created serious tension. In 2018, Abrams was arrested after shoving Calderon to the ground during a concert in Waterloo, New York. Video of the incident circulated online and exposed the problems existing behind the scenes. Abrams later appeared on Dr. Phil to discuss his addiction, relationships and behavior. Billboard Abrams officially left the group in 2020 following a legal dispute. He has since continued pursuing solo music and speaking publicly about his journey. Mark Calderon Continued Color Me Badd Mark Calderon became the member who carried the Color Me Badd name forward. The group’s official website states that Calderon now owns and fronts Color Me Badd. He performs the group’s classic hits with a new supporting lineup at festivals, theaters and nostalgia concerts. Color Me Badd remains part of the large market for 1990s music. Fans who grew up listening to “I Wanna Sex You Up,” “I Adore Mi Amor” and “All 4 Love” continue attending performances to experience those songs live. According to the group’s official history, Calderon’s version of Color Me Badd has performed more than 250 shows across the United States since he assumed control of the name. Color Me Badd’s official website Is the Original Group Still Together? The four original members of Color Me Badd are no longer performing together. Mark Calderon is currently the only founding member leading the official touring version of the group. Sam Watters built a successful career as a songwriter and producer. Bryan Abrams pursued solo projects after leaving, while Kevin Thornton is no longer connected to the group’s current operations. Although there have been several partial reunions over the years, a permanent reunion of the complete original lineup has not happened. Color Me Badd’s Lasting Legacy Color Me Badd’s time at the top was relatively brief, but the group created an impressive catalog. The members brought together pop, R&B, doo-wop, new jack swing and hip-hop influences at a moment when musical boundaries were beginning to disappear. Their diverse appearance and crossover sound helped them connect with audiences around the world. More than three decades later, “I Wanna Sex You Up” remains one of the most recognizable songs from the New Jack City era. “I Adore Mi Amor” continues to be celebrated as a classic love song, while “All 4 Love” captures the bright and energetic sound of early-1990s pop and R&B. Color Me Badd may no longer exist with its original four-man lineup, but the music never completely disappeared. The group’s songs continue to receive streams, radio play and placement in movies and television programs. What happened to Color Me Badd is a familiar music-industry story: four talented friends achieved enormous success, faced personal and professional challenges, and eventually followed separate paths. Their original run ended, but their place in 1990s R&B history remains secure.

#NOLAZINE - Beneath the serene charm and rich cultural tapestry of South Louisiana lies a dark chapter in its history—one marred by the unspeakable crimes of Ronald Dominique, infamously known as the Bayou Strangler. Over a terrifying span of nine years, Dominique carried out a chilling series of rapes and murders that claimed the lives of at least 23 men, shaking the communities of the Bayou State to their core. What makes Dominique's crimes even more harrowing is the profile of his victims. He deliberately targeted society’s most vulnerable—homeless men, drug users, and others living on the fringes. These individuals, often overlooked or forgotten by the broader public, became easy prey for a predator who operated in the shadows. Their disappearances drew little attention, allowing Dominique to continue his deadly spree with alarming ease. Outwardly, Ronald Dominique appeared to be an average, unassuming man. But behind closed doors, he was a calculating killer with a deeply disturbing compulsion. Victims were frequently found discarded near rural highways or submerged in canals—stripped not just of life, but of dignity. His ability to lure these men under the guise of friendship or help underscores a manipulative and remorseless personality. To understand the monster he became, one must look at the environment that shaped him. Raised in a small Louisiana town, Dominique endured a life filled with bullying, isolation, and confusion around his sexual identity. He never truly found acceptance, and those emotional scars likely contributed to the rage and internal conflict that later erupted into violence. Experts have speculated that his crimes were a twisted expression of control and vengeance stemming from years of internalized shame and rejection. Dominique’s reign finally came to a halt in 2006 when he was arrested following a breakthrough investigation. In a bone-chilling confession, he admitted to killing over 20 men. His detailed accounts of the crimes sent shockwaves through Louisiana and beyond. While justice was ultimately served—he received eight consecutive life sentences without the possibility of parole—no punishment can ever truly undo the trauma he inflicted. For the families of his victims, Dominique’s conviction provided a small measure of closure but not peace. The pain of losing a loved one in such brutal fashion is a wound that never fully heals. The story of Ronald Dominique remains one of the most disturbing true crime sagas in Louisiana’s history—a reminder that evil can wear the face of the ordinary. Today, as he sits behind bars, the memory of the Bayou Strangler continues to haunt the swampy backroads and sleepy towns of South Louisiana. His legacy is a warning: monsters don’t always come from dark alleys or distant nightmares. Sometimes, they live quietly among us, waiting for the right moment to strike.

#NOLAZINE - Before No Limit and Cash Money Records transformed New Orleans into a major force within the music industry, local artists were already creating an independent hip-hop movement across the city. Among the groups helping lay that foundation was 39 Posse, a pioneering trio from New Orleans’ 3rd Ward. Consisting of Shack, DJ KLC and MC Dart, the group combined hard street lyrics, booming bass, funk samples and early bounce influences to create a sound that represented New Orleans before the national industry fully understood the city’s music. Although 39 Posse never received the commercial recognition later earned by other Louisiana rap acts, its music and connections helped establish the foundation for one of Southern hip-hop’s most successful eras. Who Were the Members of 39 Posse? The three members of 39 Posse were: Derrick “Shack” Mushatt Craig “DJ KLC” Lawson Dartanian “MC Dart” Stovall The group’s name reportedly came from KLC living on the 3900 block of Louisiana Avenue. Their relationship began during the mid-1980s when they competed in local breakdancing contests. Like many members of hip-hop’s earliest generation, they entered the culture through dancing before progressing into rapping, DJing and music production. By the end of the decade, the three young men were developing a sound that mixed influences from national hip-hop with the distinctive rhythm and attitude of New Orleans. Recording Their First Project 39 Posse reportedly released its first EP in 1989. However, legal problems involving some of the lyrics forced the group to remove the project from stores. The members originally planned to return to the studio and remix the disputed material. Instead, they decided to record an entirely new collection of songs. In 1991, the group released the single “Clockin’,” backed by “Pumped in Power.” The recording helped introduce listeners to the hard drums and bass-heavy production that would later become closely associated with KLC. 39 Posse followed that release with another EP containing songs such as “Got What It Takes to Make It,” “Ask Them Hoes” and “Pass the Snake.” A 1993 feature in OffBeat Magazine described the group’s sound as “straight-up funk.” Shack, KLC and MC Dart reportedly collaborated on both the lyrics and production. OffBeat Magazine The Influence of “Ask Them Hoes” One of 39 Posse’s most remembered recordings is “Ask Them Hoes.” The song incorporated the famous “Triggerman” rhythm that became an essential component of New Orleans bounce music. Based partly on elements from the Showboys’ “Drag Rap,” the beat became one of the most reused sounds in the city’s musical history. “Ask Them Hoes” also inspired a response record from another future New Orleans legend. Mia X released “Ask Them Suckas” as an answer to 39 Posse’s song during the early stages of her career. Mia X eventually became the First Lady of No Limit Records and one of the most respected female rappers in Southern hip-hop. The connection demonstrates how closely linked New Orleans’ early artists were before any of them achieved widespread recognition. The Release of 39 Automatic In 1993, the group released 39 Automatic through Parkway Pumpin’ Records. The project included “39 Automatic,” “Hot Spot,” “Stuntin’ Stars,” “Bitch I’m Dart,” “Ask Them Hoes,” “Pass the Snake” and a remix of “Got What It Takes to Make It.” The album blended gangsta rap, funk and the developing bounce sound. KLC’s production featured deep bass, hard drums, blues-influenced piano melodies and rhythms designed for New Orleans clubs and neighborhood parties. Those musical characteristics would later become important parts of his work with No Limit Records. Although 39 Automatic did not receive major-label promotion or national distribution, it has become an important collector’s item among fans interested in the early history of Louisiana hip-hop. Building Parkway Pumpin’ Records 39 Posse was the first group to record for Parkway Pumpin’ Records, an independent New Orleans label closely associated with KLC. The company became home to a remarkable collection of developing talent. Artists connected to Parkway Pumpin’ included Magnolia Slim, who later became Soulja Slim, as well as early versions of Mystikal, Fiend, Mr. Serv-On and other performers who eventually became part of the No Limit family. 39 Posse also worked behind the scenes. The group produced music for local artists such as E.X.D., Lil Elt, Corey C., Silky Slim and a young Mystikal. In 1993, 39 Posse produced E.X.D.’s project No Elevation. This showed that the members were not only trying to build their own careers—they were helping develop an entire community of New Orleans artists. Music historian Matt Miller noted that early groups such as 39 Posse formed independent companies to release their own music and recordings by other performers. That independent approach helped create the business foundation later used by No Limit and Cash Money. 64 Parishes KLC’s Rise With No Limit Records The most nationally successful member of 39 Posse became DJ KLC, born Craig Lawson. KLC developed into one of the greatest producers in Southern hip-hop history. After working with 39 Posse and Parkway Pumpin’, he joined Master P’s No Limit Records and became a leading member of the legendary production team Beats By the Pound. Alongside Mo B. Dick, Craig B, Carlos Stephens and DJ Daryl, KLC helped create the sound that powered No Limit’s historic commercial run. His production credits include work with Master P, Mystikal, C-Murder, Silkk The Shocker, Mia X, Soulja Slim, Snoop Dogg and numerous other artists. He later produced records for musicians outside No Limit, including the Ludacris hit “Move B***h.” The hard drums, threatening piano melodies and heavy bass heard throughout No Limit’s classic catalog did not appear overnight. Those ideas were already developing in KLC’s music with 39 Posse. Listening to 39 Automatic provides an early glimpse of the sound that would eventually help No Limit sell millions of albums. The Death of Shack Tragedy became part of the group’s history when Derrick “Shack” Mushatt was killed during the late 1990s. Reports state that the 28-year-old rapper was shot multiple times near the intersection of Philip and Clara streets in New Orleans. His death ended any possibility of a complete 39 Posse reunion and took away one of the voices that had helped shape the group’s identity. Shack’s contribution remains preserved through the music he created with KLC and MC Dart. MC Dart reportedly continued recording music under the name Poison Dart, while KLC carried the group’s musical legacy into No Limit, Beats By the Pound and his later production work. Parkway Pumpin’ history Why 39 Posse Matters to New Orleans Hip-Hop 39 Posse deserves to be remembered as more than the group KLC belonged to before joining No Limit Records. The trio recorded music before New Orleans rap had a national platform. Its members helped operate an independent label, developed local performers and created records that combined gangsta rap with the emerging bounce sound. Their story also connects several important chapters of the city’s musical history. Through 39 Posse and Parkway Pumpin’, there are direct connections to Mia X, Mystikal, Soulja Slim, Fiend, Mr. Serv-On and Master P’s No Limit empire. Groups such as 39 Posse proved that New Orleans artists could produce, promote and distribute their own music. They helped build an underground market that demonstrated the city’s commercial potential. By the time No Limit and Cash Money became national powerhouses, 39 Posse had already helped create the blueprint. Their recording career may have been short, but their influence traveled much further. 39 Posse will always hold an important place among the pioneers who made New Orleans hip-hop history possible.