Katey Red is the unlikely godmother of bounce music. Katey, a trans rapper who stands over six feet tall and has a penchant for miniskirts, got her start in bounce in the late ’90s, as she explains in this Avant/Garde Diaries video, which itself is rooted in the beat of bounce. “I gets up, I start beating on the wall. I started saying stuff. … And I just let it rip. I ain’t never stopped.”
Like so many other American cultural symbols — jambalaya, jazz, voodoo — bounce is a uniquely New Orleans creation. A strain of Southern rap, it uses a throbbing beat distilled from a 1986 song and the vocal styling of Mardi Gras call-and-response. It’s raw and infectious.
Katey first entered the scene when she rapped at a party near the housing project where she grew up; people were blown away. She quickly became a local hero, and in the years since, she’s helped dozens of artists make their way, starting a crew of young bounce rappers and dancers. Some of those artists have left for other places, but Katey sticks in and with her hometown. “This your hometown music,” she told The Avant/Garde Diaries. “We try to bring New Orleans out there as much as we can. If you don’t have your hometown supporting you, that’s not nothing.”
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.