#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.

#NOLAZINE - On the set of the 1992 film Juice, Tupac Shakur came across a heartbreaking news article that deeply affected him. The story detailed the tragic case of a 12-year-old girl who gave birth to her 21-year-old cousin’s baby and then discarded it in a trash chute. The disturbing reality of the situation struck a chord with the young rapper, inspiring him to put his emotions into words. By lunchtime that same day, the song was finished. In his trailer, Tupac poured his raw emotions into what would become "Brenda’s Got a Baby," one of the most powerful and socially conscious tracks of his career. He was only 20 years old at the time. Omar Epps, Tupac’s co-star in Juice, recalled that after reading the article, Tupac couldn’t stop talking about it. The injustice and pain behind the story haunted him, and he later told The New York Times that the tragedy stayed with him long after writing the song. "Brenda’s Got a Baby" became a powerful statement about poverty, child abuse, and the systemic failures that leave young girls like Brenda without support. Decades later, the song remains one of 2Pac’s most impactful works, proving his ability to transform pain into art that speaks to the struggles of the unheard.

#NOLAZINE - During the late 1990s and early 2000s, No Limit Records assembled one of the deepest rosters in hip-hop. Master P’s company introduced the world to nationally recognized artists such as Mystikal, Mia X, Silkk The Shocker, C-Murder, Fiend, Soulja Slim and Mr. Magic. One talented New Orleans rapper who joined the No Limit family during its transition into the new millennium was Krazy. Born Michael Wilson, Krazy had already spent years building his reputation in the New Orleans underground before joining Master P’s tank. His emotional delivery, street-centered lyrics and ability to create meaningful songs made him different from the average Southern rapper. Although some listeners remember him primarily as a member of the 504 Boyz, Krazy’s career began years before the group’s biggest record. Krazy’s Beginning With Murder Inc. Krazy reportedly began his professional music career in 1994 under the name Crazy. He became a member of the New Orleans rap group Murder Inc., alongside Legend Man, MC L and female rapper Alamo. This was not the later Murder Inc. label associated with Irv Gotti, Ja Rule and Ashanti. The New Orleans group existed before that company became nationally famous. Murder Inc. released its debut album, Playin’ for Keeps, through Hard Head Records in 1995. The group followed it with Let’s Die Together in 1997. The second project was reportedly named in memory of Hard Head Records founder Roderick Smith, who was killed in 1996. These early releases introduced Krazy as a serious street rapper with the ability to discuss violence, hardship, death and survival. His music reflected the environment around him but frequently approached those subjects with emotion and vulnerability. Becoming a Solo Artist After his time with Murder Inc., Krazy began establishing himself as a solo performer. He released I Shed Tears for the World through Ruff Era Records. The project included “Chopper City,” one of the early songs that helped bring attention to his name. He followed it with Please Don’t Kill Me, an album that continued his willingness to address serious social and personal subjects. While many rappers were creating music designed mainly for clubs or neighborhood popularity, Krazy frequently wrote from a more reflective perspective. Even his album titles suggested that he wanted listeners to think about life, death and the conditions affecting their communities. His early independent work helped him develop the identity that would eventually bring him into Master P’s organization. AllMusic Joining Master P and No Limit Records By 2000, No Limit Records was entering a new era. Several artists from the label’s famous late-1990s roster had departed, and Master P began introducing a new generation of performers. Krazy became part of that movement and joined the 504 Boyz, a New Orleans supergroup originally built around Master P, Mystikal and Silkk The Shocker. The group’s name came from the city’s original 504 telephone area code. The 504 Boyz released their debut album, Goodfellas, in May 2000. The project featured contributions from several members of the No Limit family and gave Krazy an opportunity to reach a much larger audience. His association with the group placed him inside one of Southern hip-hop’s most powerful organizations. However, Krazy was not simply a new rapper created by No Limit. He was already an experienced New Orleans artist who had released multiple projects before joining the label. The Success of “Wobble Wobble” The 504 Boyz achieved their biggest commercial success with “Wobble Wobble.” The record became a national club anthem and reached No. 1 on Billboard’s Hot Rap Songs chart. It also climbed to No. 17 on the Billboard Hot 100, becoming one of the most successful singles released during the later period of No Limit’s original run. “Wobble Wobble” introduced the 504 Boyz to mainstream listeners and brought more national attention to New Orleans’ dance-driven musical culture. Although Master P, Mystikal and Silkk The Shocker were the most recognizable stars connected to the group, Krazy became an important member of its extended lineup. The song remains a memorable part of early-2000s Southern hip-hop and continues to receive attention at parties, concerts and New Orleans-themed events. Releasing Breather Life In 2001, Krazy released Breather Life through Soulja Army Records, a No Limit-affiliated label. The album included production from Carlos Stephens, Donald “XL” Robertson, Myke Diesel, Suga Bear and Ezel Swang, with Master P serving as an executive producer. It also featured appearances by Snoop Dogg, Master P, Big Ramp and other artists. Among the project’s most notable songs were “What Y’all Want” featuring Snoop Dogg and “I Luv My Project” featuring Master P and Ezel Swang. Breather Life reached No. 91 on Billboard’s Top R&B/Hip-Hop Albums chart and No. 31 on the Independent Albums chart. Those numbers showed that Krazy had developed an audience beyond his earlier underground following. Discogs The album gave listeners a better understanding of him as an individual artist. He could deliver aggressive street records, but he also possessed an emotional side that allowed him to discuss pain, loyalty and the realities of growing up around poverty. Working With Other No Limit Soldiers Krazy appeared on several projects connected to No Limit’s post-2000 era. He joined Soulja Slim and X-Conn on “Get Cha Mind Right,” which appeared on Soulja Slim’s 2001 album The Streets Made Me. The collaboration united two distinctive New Orleans voices who had experienced the city’s independent rap scene before reaching a national audience. Krazy also appeared alongside Master P and Terrar—who later became internationally known as Pusha T—on the remix of Silkk The Shocker’s “D-Game.” The collaboration has become an interesting piece of hip-hop history because it connected an established No Limit rapper with a future member of Clipse. “D-Game (Remix)” remains respected enough to have been included in a 2025 list of songs proposed for No Limit’s battle against Cash Money Records. Uproxx In 2002, Krazy appeared with 5th Ward Weebie on Master P’s “Rock It,” from the album Game Face. The song reached No. 72 on Billboard’s Hot R&B/Hip-Hop Songs chart. These appearances made Krazy one of the recognizable voices from No Limit’s second major chapter. Life After No Limit After his period with No Limit, Krazy continued making music independently. In 2004, he released Us Killin’ Us through Breather Entertainment. The project’s title followed the socially conscious direction heard throughout much of his earlier catalog. Rather than depending entirely on the No Limit name, Krazy returned to the independent approach that had started his career. He continued recording, performing and maintaining connections within New Orleans hip-hop. Years later, he also became affiliated with No Limit Forever, the updated version of Master P’s musical movement. Songs such as “Scale,” featuring Master P and T.E.C., showed that the relationship between Krazy and the No Limit family continued beyond the label’s most commercially successful period. An Underrated New Orleans Rap Veteran Krazy may not be mentioned as frequently as some of No Limit’s biggest stars, but his career deserves recognition. He survived multiple stages of the New Orleans music industry. He started with an independent group, became a solo artist, joined one of hip-hop’s most famous labels and contributed to a group that produced a No. 1 rap single. More importantly, Krazy never sounded like an artist who was simply added to fill space on the No Limit roster. He brought years of experience, an established identity and a genuine New Orleans perspective to the tank. His catalog includes music created before, during and after his No Limit run. That history makes him more than just a former member of the 504 Boyz. Krazy represents the generation of New Orleans rappers who built their names independently before Southern hip-hop received full respect from the national music industry. For longtime No Limit fans, Krazy remains a real soldier from an important era. For younger listeners discovering the label’s history, his story proves that some of its most talented artists existed beyond the platinum album covers and nationally promoted stars. Krazy’s journey is another chapter in the larger story of New Orleans hip-hop—one that deserves to be remembered.

#NOLAZINE - When Mary J. Blige filed for divorce from her husband of 13 years, Kendu Isaacs, the Queen of Hip-Hop Soul found herself in an unexpected legal and financial battle that would become one of the most talked-about celebrity breakups in recent memory. Isaacs, who had served as Blige’s tour and business manager, shocked the public when he requested an eye-popping $130,000 per month in spousal support—citing his need to maintain the lavish lifestyle he had grown used to during their marriage. Isaacs’ controversial breakdown of monthly expenses raised eyebrows across the entertainment world. His request included: $1,000 for clothing $3,200 for personal training $5,000 for child support (even though the couple had no children together) $5,000 for his parents $7,000 for rent $8,000 for a private chef $21,677 for charitable donations $71,000 for mortgage payments Additional legal fees Though the court didn’t grant Isaacs the full amount he demanded, Blige was still ordered to pay $30,000 per month in temporary spousal support, a significant hit to her finances. The situation grew even more complex due to Isaacs’ alleged infidelity and claims that he mismanaged Blige’s money during their relationship. The divorce took a major emotional and financial toll on the Grammy-winning artist. Blige has been candid about the dark period in her life, describing how the separation drained her bank account and challenged her sense of peace. However, in true Mary J. Blige fashion, she transformed her pain into power. The divorce became a source of inspiration for her music and marked the beginning of a fierce comeback. Blige’s vulnerability and strength shined through on her critically acclaimed album Strength of a Woman, which directly addressed the heartbreak and betrayal she endured. Today, Mary J. Blige stands as a symbol of resilience—proof that even after a painful breakup and a costly legal battle, you can rise again. Her story is not just one of survival but of transformation, reminding her fans that self-worth, healing, and growth always outweigh any price tag.

#NOLAZINE - The Power in Healing by Kortynie C. is more than just a book—it is a deeply personal testimony of resilience, faith, restoration, and the strength it takes to keep moving forward when life tries to break you. Over the last five years, Kortynie shares that she has experienced heartbreak, disappointment, loss, setbacks, and moments that challenged everything she believed about herself. Instead of allowing those experiences to define her, she used them as opportunities for growth and transformation. At the heart of The Power in Healing is a powerful message: healing is not weakness—healing is power. Through transparency, faith, self-reflection, and perseverance, Kortynie opens up about the lessons that helped transform her pain into purpose, wounds into wisdom, and struggles into strength. Her story encourages readers to release what no longer serves them, embrace personal growth, and move forward into the person God created them to be. For anyone navigating grief, adversity, disappointment, personal setbacks, or simply searching for hope, The Power in Healing offers a reminder that a difficult chapter does not mean the story is over. There can be beauty after brokenness, purpose after pain, and strength on the other side of healing. Kortynie’s message is ultimately one of hope: your healing journey matters, your story matters, and you matter. 💛 If you or someone you know is going through a difficult season and looking for encouragement, The Power in Healing is a book worth adding to your reading list. Follow Kortynie on Instagram: @kortynie

#NOLAZINE - It’s hard to imagine R&B without Keyshia Cole’s emotional powerhouse ballad “Love” — a song that not only catapulted her career but also became a staple in 2000s heartbreak anthems. But in a surprising revelation, Cole once admitted that she hated the very song that would define her legacy. Released in 2005 as the third single from her debut album The Way It Is, “Love” showcased Keyshia’s raw, unfiltered vocal ability and vulnerability. The song soared on the Billboard charts and became an instant fan favorite, solidifying her as one of the standout voices in modern R&B. So why did Keyshia Cole dislike it? According to the singer, her discomfort stemmed from her vocal performance on the track. She felt that her voice wasn’t as polished as she wanted it to be and was overly critical of the final product. In interviews, she’s reflected on the fact that she was still growing into her voice and style at the time — and listening back, all she could hear were imperfections. But for fans, those imperfections are exactly what made the song unforgettable. “Love” resonated because of its rawness — the emotion you could feel in every word, every cry, every note. The fact that it didn’t sound overly produced or engineered only made it more real and relatable. Over time, Keyshia has come to appreciate what the song means to her fans. It’s the track that turned casual listeners into lifelong supporters, and it remains one of the most requested songs at her concerts. What once caused discomfort has now become a badge of honor. “Love” is now considered one of the greatest R&B songs of its era, a timeless classic that continues to inspire a new generation of artists and listeners alike. Even if Keyshia Cole didn’t love “Love” at first — the world certainly did.

#NOLAZINE - Some of the most legendary songs in hip-hop history are born out of raw emotion — moments of loyalty, pride, and real-life tension. One of those records is the iconic street anthem “Down for My N’s” by C-Murder, featuring Snoop Dogg and Magic. What many fans don’t know, however, is that the song was sparked by C-Murder’s loyalty to Snoop Dogg after hearing Suge Knight speak negatively about him. At the time, tensions in the hip-hop world were high. Suge Knight, the powerful figure behind Death Row Records, had publicly taken shots at Snoop Dogg following his departure from the label. C-Murder — a respected member of Master P’s No Limit Records and a proud representative of New Orleans — wasn’t feeling the disrespect. According to hip-hop lore, C-Murder took it personally. Rather than responding in interviews or behind the scenes, he did what real artists do — he went straight to the studio. Fueled by loyalty and emotion, he recorded “Down for My N’s,” a record that would become one of the most timeless street anthems in rap history. The song, released in 1999 on C-Murder’s album Bossalinie, carried an unmistakable message: real recognize real. When Snoop Dogg later jumped on the record, the collaboration not only squashed any tension but also cemented the track as a coast-to-coast classic — uniting No Limit and West Coast legends on one unforgettable record. More than two decades later, “Down for My N’s” still hits just as hard — a rallying cry for loyalty and respect in the streets. And behind its creation lies a story of brotherhood and standing up for someone when their name is being dragged. C-Murder didn’t just make a hit — he made a statement.