Simply put, hip-hop might not be the same without Juvenile. Over nearly three decades, the multi platinum record-breaking New Orleans icon served up a string of classic albums, influenced two generations of stars, and pioneered a sound rooted in Louisiana bounce, yet carried by worldwide rap appeal and ambition. Like all timeless stories though, his stretches back to humble beginnings in the neighborhood his music put on the map: the Magnolia Projects. As if predisposed by destiny to pick up a microphone, he heard Melle Mel’s verse on “The Message” by Grandmaster Flash & The Furious Five, commenced spitting, and never stopped since… “That’s really when it all started,” he recalls. “I heard Melle Mel saying, ‘Don’t push me, ‘cuz I’m close to the edge’, and that was it. I was only seven-years-old, but I knew I had to rap.” He made local waves by appearing on DJ Jimi’s “It’s Jimi” in 1991 before bringing a national spotlight to the burgeoning bounce music style on his breakthrough “Bounce for the Juvenile.” After building a fan base on his 1995 debut Being Myself, the production of Mannie Fresh caught his ear, and nothing would be the same. At the time, the in-house Cash Money Records producer cooked up “Drag ‘Em ‘N’ tha River” for UNLV—a group Juvenile brought to the label. In response, Juvenile recorded “Set It Off” and knew he “had to get with Mannie Fresh.” “At the beginning, I truly came to Cash Money, because of Mannie Fresh,” he recalls. “I knew his beats were bigger than most artists. There was something there.” There definitely was… After his Cash Money Records debut Solja Rags, he crafted an era-defining opus in the form of 400 Degreez. Not only did it go quadruple-platinum, but it also became “the best-selling album in Cash Money Records History.” It produced staples such as the title track, “Ha” (which JAY-Z notably remixed), and “Back That Azz Up.” The latter would be sampled by everyone from Drake to City Girls. The Ringer lauded 400 Degreez among the “20 Best Southern Rap Albums Ever” behind only UGK’s Ridin’ Dirty and OutKast’s Aquemini. Pitchfork bestowed a rare 9.4-out-of-10 rating upon the record, and Kendrick Lamar cited it as one of his “Favorite Albums” in Complex and went so far as to claim, “They had the West Coast on smash. We definitely tried to be like them.” The heat spread far and wide across the United States. “I remember I had a show with Funkmaster Flex in the Tunnel in New York city around the time 400 Degreez came out,” he recalls. “Everybody told me, ‘Don’t sing no other song, but ‘Ha’. If you sing anything else, they might jump on you and beat y’all up!’ I sang ‘Ha’ for forty minutes straight. It was the hardest place for any artist from the South to break into, but I did. It really broke the mold.” Around the same time, Juvenile comprised The Hot Boys alongside Lil Wayne, B.G., and Turk. Together, they smashed charts with the Get It How U Live! [1997] and the platinum Guerilla Warfare [1999]. His next solo offering, Tha G-Code, went double-platinum followed by the platinum Project English. Meanwhile, 2003’s Juve The Great emerged as another unsung platinum classic as “Slow Motion” [feat. Soulja Slim] topped the Billboard Hot 100 at #1 for two weeks. He maintained a prolific pace in the ensuing years and collaborated with everyone from Future to Yo Gotti before reuniting with Cash Money Records. “It’s more like a family reunion than anything,” he smiles. “It’s a friendship that never should’ve separated. Back in the day, Baby and I were always really tight. It’s tighter now. We think differently. We know when we hit the studio, it’s time to work. In the nineties, it was more about trying to control the industry and be at the forefront. We’re not trying to be better than everything out there; we’re just trying to show our fanbase we can still make good music. We have a great chemistry and always have. I thought it was a good idea for him and I to do a project together. He agreed. It was something we wanted to do forever, but never got around to it. I want him to talk that shit. I do my thing. Do your thing brother. That’s what makes our chemistry great.” The chemistry thrives on their 2019 first full-length collaborative album, J.A.G.It boldly extended Juvenile’s own legacy with unanimous praise from Pitchfork, Rolling Stone, and Billboard as the singles “Just Another Gangsta” and “Dreams” [feat. NLE Choppa] tallied over 20 million total streams and views. Moreover, it preceded the stage for another collaborative effort and an O.G. Cash Money Records reunion on “Ride Dat” [feat. Lil Wayne]. Juvenile also inspires the next generation as his song Young Juve picks up the microphone for a bevy of upcoming singles. In the end, Juvenile continues to shape and spearhead the future of hip-hop. “I just want people to enjoy the music,” he leaves off. “I want to keep making good music. It’s all about a positive mood. Birdman and I are going to continue this. We’ve got a whole new breath of fresh air coming from my way. We’re going to get this bread.”

He's half of the brains behind the Cash Money label, his productions have moved over 23 million units, and it all started because of a DJ father. Surrounded by music while growing up, producer/rapper/hip-hop mogul Mannie Fresh decided early on that if he had to get a job, it had to be doing what he loved to do, and that was play music. The New Orleans native got his start in 1984 as a member of New York Incorporated, arguably New Orleans' first hip-hop crew. The parties Mannie started to DJ around this time were to become legendary and brought him to the attention of rapper Gregory D. The two partnered and worked on album that was to become 1992's The Real Deal released on RCA. Rap fans in the Big Easy fell in love with the album but it failed to gain much attention outside of the South. Although they remained friends, Mannie and Gregory D split professionally, due in part to Mannie's displeasure with the way major labels handled street music. The stage was now set for the producer's meeting with Brian "Baby" Williams. When Williams offered Mannie a chance to join his fledgling Cash Money label, it couldn't have been better timing. Soon artists like Baby, Juvenile, B.G., and Lil Wayne were taking Cash Money to the top, thanks in no small part to Mannie's quirky and bright production. By the late '90s, Cash Money was the preeminent Southern rap label and Mannie and Williams were now working on their own group. The two formed Big Tymers in 1998 and released a series of successful singles and albums. The producer behind everything from Juvenile's 400 Degreez to Teena Marie's La Doña finally busted out on his own in 2004 with the wild solo album The Mind of Mannie Fresh. ~ David Jeffries, Rovi