How did you start rapping? My story is basically like the average street rapper. I just started out bouncing from club to club, getting on the mic with the DJs around my city and creating a buzz for my name. I got into a situation with a local record company called Mobile Records and did my first disc with them, Show The World. The hot song off that album was “5th Ward Weebie Got Them Hoes Off The Heezy.” I was mostly on some street rap, thug shit, but it was that one bounce song that everybody liked. How long were you with Mobile Records? For about a year. Then I ran into Partners N Crime, some real legends in the game. They’re with UTP and Rap-A-Lot now, but they were with Southcoast at the time. They discovered me in the club. I had a real hot name for myself. They had already laid down six albums with back-to-back hits, so they were already underground legends in New Orleans. They were kinda like my industry parents. They raised me and showed me the game; gave me the chemistry and the formula to make hits. I released an album through Southcoast under their direction in 2000. We sold 15,000 with no radio play and no video play. The radio didn’t wanna play us, but it was so hot in the streets they couldn’t deny us. Then I ran into Kane & Abel through Partners N Crime, and we did a song called “Shake It Like A Dog.” That song blew out of the water independently, which gave me some recognition. We did a video and it made it to the top 10 on the Billboard charts. I got some real nice regional attention off that song. Did the major labels come looking for you? The labels were really knocking on the door but the labels, Southcoast and Most Wanted, kinda kept that away from me. Me as an artist, nobody had direct contact with me. I feel like that’s held back a lot of artists. They didn’t give me the opportunity to say “Yeah” or “Nay,” because they were doing all the talking. They didn’t want me talking to them, which is understandable, but not understandable because they didn’t give me the opportunity. The song I did with Kane & Abel opened up another opportunity at the time. Kane & Abel were really interested in me, and I was loyal. At the time, the best move was to go on the road with Kane & Abel because they were creating work for me. I don’t have no regrets. I did 500,000 indie on the album, ghetto platinum, featuring Mystikal, Three 6 Mafia, Mr. Serv-On, Fiend, and Kane & Abel. It was a real step up for me. At that point in my life, I was making elevated moves. That opened up all new doors for me. I got picked to be the regional spokesperson for Burger King’s breakfast campaign. I did a Judge Mathis commercial. We got [Master] P’s attention. I was still on the road with Kane & Abel, but they were facing some jail time. They had a case hanging over their heads. I don’t want to get too detailed into that, but when P called, I took the opportunity. I was never signed to No Limit, but P flew me out to Texas to record with him. That’s when we created the song “Oowee.” I had already laid it down off a bounce beat raw, but when I got with P I really made it into a real song. We also did “Rock The Boat,” which was on the Game Face album. I didn’t know he was gonna pick it for a single, I just went out there to do work. When the video hit BET and MTV and all that good
shit, we hit Rap City, 106th & Park, Soul Train, and all that. P was basically in negotiation mode with me at that time. It’s no bad blood with me and P. A lot of times when somebody leaves No Limit people think it’s a bad situation, but my situation was different. It was more like a workfor-hire situation. I did songs for his album and the 504 Boyz album. I was featured on “Tight Whips.”
both of my songs for singles. I know what my capabilities are, but these labels are ignoring me like they don’t see me. The labels really piss on 5th Ward Weebie, for real. They know about me; they heard about me. They know what I’m doing. If they wanna holla, they know where to find me. It’s like a Mike Jones situation. Everybody has their struggle process where they’ve gotta grind. I ain’t trippin’, I’m just doing me.
Why not sign to No Limit? We wanted to move forward with me signing to No Limit, but it’s a business. With my previous situations, I was more cautious doing business with anybody. My lawyers and his lawyers were getting together, and at the end of the day, the agreement was not official so we just called a truce. He’s good, I’m good, we just decided to go separate ways. It’s no beef or bad blood. We just weren’t seeing eye-to-eye on the business. It’s all good. I got exposure, and he got a hit. It was a good situation for both of us.
Do people confuse you with Webbie? Yeah, it’s a lot of confusion because the names are similar. They’re spelled different, though, and I’ve always been 5th Ward Weebie.
What do you think is the next step to get more mainstream exposure? I just gotta keep working and doing me. I’m not really worried about the majors right now, to be honest. I’m doing me, indie. When I’ve made enough noise on my own, the labels are gonna come in and bank me up, but that’s not something I’m banking on. I don’t set myself up for big disappointments. I don’t want to wait on a major label. If you keep grinding and rocking the streets and creating a buzz for yourself, it’ll happen. Jay-Z said a long time ago, “Treat your first like your last and your last like your first.” It’s always a startover process. I believe I’ve done so much work in this game that I’m not starting over, I’m just grinding harder. I gotta do more work. I don’t have a team of niggas. I don’t have fifty muthafuckers in the office working for my company. It’s really just me with about three other people. The labels are really gonna have to be talking what I’m talking, because I done put so much work in the game. Come on, man. Not to be feeling my own shit, but you know, Master P fucked with a nigga like me and then picked
I heard you were facing a murder charge? Yeah, they tried to C-Murder me. Much love, shout outs to my dawg C-Murder, keep your head up. I beat that case, man. New evidence, no probably cause. It was just a he-said, shesaid situation. I was the only known name in the club from New Orleans, so they put a stamp on New Orleans. They figure everybody from New Orleans is a headbusser and a murderer. Niggas ain’t stupid. I’m not scared and I’m not no hoe, but I’m not stupid. I’m a rapper out here performing, trying to make money. Why would I be stupid enough to murder somebody in the club and put somebody in a predicament? They couldn’t put two and two together. When they found out I had video footage of the actual incident, they tried to break the charge down from second degree murder to accessory after the fact. First they said I murdered somebody, then they said I didn’t but I know who did. Since they couldn’t charge me with murder they tried to bring it down. It was a bunch of bullshit. Those dicksuckers ain’t even know what they was doing. My lawyer beat that. They really ain’t have nothing on me. Hip-hop is under a telescope. They always try to knock off young black rappers who are getting money. If we do anything other than what they expect, they try to pin a murder on us. It’s crazy. I just move on from that shit. - Julia Beverly OZONE AUGUST 2005
Ozone Mag #37 - Aug 2005