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Juvenile  

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Terius Gray is better known by his stage name, Juvenile, and is an American hip-hop rapper from New Orleans, Lousiana.

Born on 25 March 1975, Juvenile first started rapping in the early 1990s. After signing with Warlock records in 1995, he released his debut album entitled “Being Myself.” Unfortunately, the album did not gain much national attention and did not chart, but did fairly well on a local level. However, it did bring more attention to labels, and as a result, Juvenile signed to Cash Money Records and released “Solja Rags” in 1997. Although the album saw some national success having made it onto the Billboard Hot R&B/ Hip-Hop Songs Chart, it saw most of its success with local rap audiences. Also in 1997, Juvenile joined the Hot Boys with fellow Cash Money rappers B.G., Turk, and Lil Wayne and together they released their debut album “Get It How U Live!”

Juvenile released his third solo album entitled “400 Degreez” in 1998 and it became his breakout album, having had the opportunity for a bigger market due to Cash Money Records gaining a joint distribution with Universal Records. Keeping up with the success of “400 Degreez,” he released “Tha G-Code” in 1999 and “Project English “ in 2001, both of which ended up becoming double certified platinum.

In 2005 Juvenile signed a new deal with Atlantic Records and released “Reality Check” in 2006. The album, which had debuted at number one on the Billboard 200 chart, went on to become certified gold. By 2012 Juvenile released his tenth album, “Rejuvenation” which featured the single "Power" featuring Rick Ross. Juvenile collaborated with Lil Wayne, DJ Khaled, and Drake.

Live reviews

I was head bumping in my baby crib, listening to Juvenile now i'm body popping to Juvenile 15+ years later! Good music is timeless and with Juvenile never has a statement held so much truth. Terius Grey also known as Juvenile is perhaps one of the most underrated rappers, but with performances like this! that's soon to change. The 'back that ass up' rapper, inspires such wildness within the audience, Rock has mosh pits, rap has crumping and that was the result when he performed his 2014 song 'Live Wire'. As the familiar Southern beat dropped, people were shaking so much I thought their souls were gonna leave their bodies there and then! This energy is hard to come by from a single song and when 'Back That Ass Up' came on, left right and center all I could see for miles on end was twerking, trying to keep up with such motion resulted in nothing less than your head bobbling up and down like the dog from the Churchill adverts Juveniles hype man prepared the audience, as if a scene out of a movie were being filmed, warming up the crowd and competing with the screaming girls as Juvenile strolled on with a bottle of alcohol that looked like it cost more than my entire existence, and that is what people love about Juvenile, he's just so calm, cool and relaxed. Even if you're not a fan, attend one of his performances, within twenty seconds of the first song, your opinion will change! If not then I PERSONALLY will teach you how to twerk.

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Rapper/songwriter Terius Gray, aka Juvenile has been recording raps since the age of 19, and released his debut album way back in 1995. I’ve been following his music ever since, and hearing the maturing process and the music progress over the years has been wonderful. He encountered troubles in early 2000s where he had several run-ins with the law which unfortunately have continued over the last decade, but he has luckily ben able to keep producing his fantastic music regardless.

Hearing him perform live was incredible. He opened the show with Back that Thang Up, which everyone knew and was singing along to. He came down off of the stage and started dancing with everyone, Although the bouncers made sure we couldn’t get too close, it was great that he was actually interested in being down in the audience with his fans. He played through his new album The Fundamentals, and absolutely smashes it. He taught us as the audience little sections of the rap and got up to sing back to him, which was really cool. The show was nearly 2 hours long, and he maintained his energy and enthusiasm throughout which was great. He put on a wonderful performance I’d definitely watch again.

It is pretty impressive to now reflect that Louisiana rapper Juvenile, real name Terius Gray released his debut album 'Being Myself' at the age of 19. The record was a major release on the hip-hop scene of the 90's and although his commerciality has faded in recent years, the demand for his live show is ever present. The crowd's cheers are deafening before the rapper makes his appearance with hands raised clapping to the reaction.

Beginning with a huge blast from the past, the heavy baseline of '400 Degreez' gets the crowd moving instantly and jumping on that recognisable chorus. He runs through a selection of what he considers his best material and majority is well known from the crowd, especially the couple of tracks lifted from his only Billboard #1 'Reality Check'. It is the older material that goes over best, tracks such as 'U Understand' bringing the whole room together in mass singalong during the recognisable chorus. It is of course 'Back That Azz Up' that is saved for an encore in order to really push energy levels to new highs and end on a dose of 90's nostalgia.

Though Juvenile wasn't the headliner for this particular show, I've seen him as headliner before. His energy is always great, he keeps the crowd engaged and having fun, and he's on time. He does just enough to make it feel like a live show (vs listening to his hits on the radio), without it feeling too overdone. Awesome show!

Horrible show. Juvenile didn't show up and canceled last minute. No refunds or alternate dates offered or proposed. Security actually started to cwork me by and throw everyone out and told us to take it up with the venue.

Huge disappointment by an artist who is becoming less and less relevant.

Juvenile I'm from bay area and I was at the show in the bay last night and you was always do your thang.. I was upset that you was the first to cone out always legendary I was expecting you to come out out close to the end but the show was dope AF... You,Boosie and the homie mozzy kill it...

Juvenile never showed up. Mannie Fresh was there for like an hr, he did a great set but over disappointing. Great venue, great crowd but definitely not worth what I spent for the artist I wanted to see not to show up.

Man o man my first time seeing him live, the man is simple bad. He deserved all the hype and the props. I am truely a juvi fan now, i just loved his off the domb stuff. I had a blasted.

This was the word show ever. Juvenile nor Trina showed up for the concert. I am looking into getting my money back. It was not what was advertised and I am upset about this event.

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Juvenile tour dates and tickets 2024-2025 near you

Want to see Juvenile in concert? Find information on all of Juvenile’s upcoming concerts, tour dates and ticket information for 2024-2025.

Juvenile is not due to play near your location currently - but they are scheduled to play 14 concerts across 1 country in 2024-2025. View all concerts.

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Juvenile launches fan-demanded npr "tiny desk" concert & announces "400 degreez - 25th anniversary" edition coming november 3.

WATCH TINY DESK HERE

LOS ANGELES , June 30, 2023 /PRNewswire/ -- Turning the heat all the way up this year, multiplatinum rap icon  Juvenile  proudly presents 400 Degreez – 25 TH Anniversary Edition on November 3, 2023 via UMe . He will celebrate his magnum opus and one of the most important Southern rap albums in history with this special release.

25 years ago, 400 Degreez left a scorching and indelible imprint on the culture upon arrival back on November 3, 1998 . It holds the distinction of becoming "the best-selling album in Cash Money Records history" and reaching 4x-platinum status. The ubiquitous "Back That Azz Up" has also impressively endured as a generational bounce anthem, popping up in tracks by modern superstars.

Among many accolades, The Ringer  crowned 400 Degreez one of the "20 Best Southern Rap Albums Ever , " and it achieved a coveted 9.4 grade from Pitchfork  who observed, "It 's an album about what it's like to be baptized in fire and the ways you need to be resourceful in order to survive—not to escape Hollywood shootouts, but to grit your teeth and keep creditors off your back, to keep from getting carjacked by kids who are bored and lashing out." 

Speaking to its resounding impact, the LP has generated nearly half-a-billion total streams and counting.

To celebrate its arrival, his fan-demanded NPR "Tiny Desk" concert also just premiered today. Watch it HERE . Initially, his Twitter followers urged his performance on the program, and he hilariously responded, "Wtf is a tiny desk" on April 10 . The next day, he promised, "All Things Considered, 10k retweets, and I will RECONSIDER doing @NPR Tiny Desk . " His mentions lit up, and he found himself in Washington, D.C. at NPR headquarters delivering an epic performance earlier this month. For "Tiny Desk , " his once-in-a-lifetime band and New Orleans natives comprised of longtime producer and 400 Degreez collaborator Mannie Fresh , 5x-GRAMMY® Award winning  Jon Batiste , and GRAMMY® Award-winning trombonist-singer Troy Andrews a.k.a. Trombone Shorty .

They bring classics from 400 Degreez to life like never before.

After more than two decades, it's still the soundtrack to the summer.

Juvenile  joined forces with Birdman for the 2019 collaborative album,  J.A.G. The latter generated over 20 million total streams and views across platforms and incited unanimous critical applause.  Pitchfork  christened it  "a shockingly strong late-career reunion record , "  and  Billboard  summed it up best as  "a beginning of a new chapter"  and praised Juvenile,  "He sounds revitalized . "

ABOUT JUVENILE

Simply put, hip-hop might not be the same without Juvenile . Over nearly three decades, the multiplatinum 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. 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 . " Juvenile comprised The Hot Boys alongside Lil Wayne , B.G. , and Turk . 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 .

View original content to download multimedia: https://www.prnewswire.com/news-releases/juvenile-launches-fan-demanded-npr-tiny-desk-concert--announces-400-degreez--25th-anniversary-edition-coming-november-3-301868232.html

SOURCE Universal Music Enterprises

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400 Degreez

By Paul A. Thompson

July 15, 2018

There’s a title card, but within seconds, the setting is unmistakable:

You see the rows of buildings stretching out toward the horizon, seemingly vacant and endless. A hard cut and suddenly, the frame fills with action: Juvenile in the foreground, perched over a puddle, a sea of Magnolia residents waving their arms behind him, hanging from balconies, poking curious heads out of windows. That’s you with that big-body Benz, ha?

You see Juve shirtless, shimmering with sweat; he’s grimacing in front of convertibles; he’s showing off his gold fronts in jarring close-up; he’s rapping animatedly—skinnier than you expect, all elbows and sharp angles—in front of a mural bearing the projects’ official name, C.J. Peete; he’s dancing around a porch while the family that lives there sits motionless; he’s mugging in a hallway next to Baby and Mannie Fresh ; he’s shadowboxing.

The rest of Magnolia pops to life, either in eerily real tracking shots or in static frames that might as well be portraits. Kids jump on cast-off mattresses. Women in church clothes pose soberly—so do EMTs, with arms crossed in front of their ambulance. Magnolians get chased and cuffed and clutched by their fathers. There are roller skaters and pickup basketball games. A man on crutches hobbles down a street lit only by that ambulance’s siren lights; a boy feeds a piece of deli meat to a dog; money is counted and blurs until the bills are indistinguishable.

This is “Ha,” one of the most singularly brilliant rap songs of the 1990s. It’s been interpolated by people who win Pulitzers and bitten by countless young rappers, either in their formative periods or when they fly a little too close to the sun. Its video , directed by Marc Klasfeld, is genuinely stunning—spare but stylized, high art from self-consciously low production budgets, a four-minute blueprint for the rap videos that would come after the massive budgets from the Hype Williams era evaporated. There are no yachts. The whole thing takes place in and around Magnolia, where Klasfeld and his team set up camp for three days. Juve claimed that “all the drug dealers shut down” to accommodate production.

Even today, “Ha” sounds like it’s from the future, except when it sounds like it’s from the lobby of your building. Juve is sly and sarcastic, writing in the second person, ribbing you about child-support payments and switching to Reeboks and finally figuring out how to use your triple-beam. Juve laughs and sneers and, occasionally, commiserates. It’s a writing exercise. It’s also the platonic ideal of a rap song: mean, minimal, funny, foreign. Mannie’s beat is a rattling, electronic taunt, and its coda, which could have easily anchored another hit song, is free and acrobatic and full of bounce.

But underneath the grit and grinning was a mission statement. “Ha” announced to America that Cash Money Records, a New Orleans label that had made a well-timed pivot to rap, would be taking over in the new millennium. Universal had agreed, in a historically lucrative deal , to throw its weight behind the smaller label, and Cash Money countered with Juve’s third record, 400 Degreez . It’s a masterpiece—swaggering but paranoid, pained but free. It’s the sweatiest, funkiest parts of New Orleans culture packaged for export, and it would go on to become one of the most consequential rap records of its era and the next.

Long before the Universal deal, Cash Money was a shoestring operation founded by a pair of brothers, Bryan and Ronald Williams. (You know Bryan as Baby or Birdman ; if you know Ronald, you know him as Slim.) At first, it was a label for bounce music, the tight, energetic genre built on bass and various chops of the “Dragnet” theme. And it’s impossible to talk about bounce and rap in New Orleans without talking, first, about Mannie Fresh. Byron Thomas was the son of a DJ who gave his son instruments and hardware before he knew what to do with them; when Byron heard Afrika Bambaataa ’s electro-futurist “ Planet Rock ,” the gear started to make sense. He adopted the name Mannie Fresh and embarked on a career DJing and producing that would make him one of the most acutely influential producers in the history of Southern music.

From his earliest drafts, Mannie’s beats were deliriously danceable; soon, they were also punishing. He was able to flit between bounce and rap (and marry the two), but as Cash Money moved fully into hip-hop, he became the chief architect of its sound. Musically, he was Cash Money. It was one of his beats for a U.N.L.V. song called “ Drag ’Em in the River ,” that first attracted the attention of a young rapper who had been going by the name Juvenile.

Juve was born Terius Grey in March of 1975 and spent much of his formative years in those Magnolia Projects in Uptown New Orleans. While he was still in his teens, Juve had a foot in the city’s rap and bounce music scenes. With basically no recorded music, he was playing a near-endless string of raucous live shows, marching from spot to spot, hole-in-the-wall bar to high school parking lot, rapping for anyone who would listen. It worked. According to Mannie, people in the city would know the lyrics to Juve’s songs before they were ever released, simply from seeing him tear down tiny venues over and over again; his debut single, a collaboration with DJ Jimi called “ Bounce for the Juvenile ,” was exhibit A.

Before Cash Money, Juve—on wax, at least—wasn’t the unmistakable presence he would become. But when he linked with Mannie, the evolution came rapidly. The pair had been orbiting one another for a while, but operating in slightly different circles. They finally, officially, met at a bus stop, where Mannie asked Juve to rap. He did: song after song after song. The contract came through almost immediately. By the end of 1997, Mannie had produced (and Cash Money had issued) two albums with Juvenile in a starring role, a solo record called Solja Rags and Get It How U Live!! , an album by the Hot Boys, Cash Money’s supergroup that paired Juve with B.G., Turk, and a young rapper named Lil Wayne . Juve had just turned 22 when that first Hot Boys album dropped, but he was the oldest member of the group—barely out of his adolescence but forced into a grizzled, world-weary role.

You could hear it in his voice. Starting on Solja Rags , Juve became one of the most distinctive rappers imaginable, his delivery evoking the blues but nimble enough to navigate whatever stuttering, gridless drums Mannie used to challenge him. When he was cursing Bill Clinton and Bob Dole , he sounded as if he could be 18 or 58, smirking on a porch somewhere.

By the beginning of ’98, Cash Money and its artists were accruing power throughout Louisiana and the rest of the South. The title track from Juve’s album had been a local hit. B.G.’s album sold 25,000 copies; the Hot Boys tripled that. In March, Baby and Slim signed that infamous distribution deal with Universal, the terms of which quickly took on the qualities of myth: a three-year contract with a $2 million advance annually, a $1.5 million credit on each of up to six albums each year, and an 80/20 profit split in favor of Cash Money. The deal had largely been centered on the Big Tymers—Mannie’s collaboration with Baby—but as soon as the ink was dry, Mannie insisted that Universal push Juvenile to the foreground.

Cash Money was then operating like a factory: Mannie would cook up beat after beat and hook after hook, and artists would be in various studio rooms writing, trying out ideas, with all efforts dedicated to whoever’s album was next on the docket. But as Juvenile became the label’s flagship artist, and as everyone’s focus turned to forging his new album, the process changed in two key ways. For one, the raps often came before the music. There are moments on 400 Degreez when Juve stops a verse at 14 bars or runs past the usual 16. Juve hadn’t learned, or wasn’t bothering to count out his bars; he would simply tell Mannie what and how he was going to rap, then let the producer build a beat around him. As Mannie recalled in 2014 , “ 400 Degreez was already wrote, I just had to put music to it.”

The second divergence from Mannie’s usual process is that, unlike the other rappers on the label, Juve would bring his own hooks to the songs rather than let them be mapped out by the producer. As specific and streetwise as he was, those years winning over NOLA crowds honed his sense for how to manipulate a room. That knack for pop makes the album jell; it lets him float through songs like “Ghetto Children” and stuff melodies into the verses on “Gone Ride With Me” and “Follow Me Now.” (The latter song, in particular, is an absolute joy; the way he opens with a syncopated “I want me a—mil/To see just how it—feel” throws your shoulders into motion immediately.) Juve had long been toying with these parts of his toolkit, but on 400 Degreez he grew into a different rapper entirely, one more in command of his skillset and with a more innate feel for where each song could take him, musically. On the intro, Mannie says this is the new record from “the dude that brung you ‘Put up your “Solja Rag,”’ referencing that lighter, thinner proto-“Ha” from the year before. But Juve wasn’t the same dude—he was a little older, a little better in tune with the bounce.

Which is good, because when Juve forgets to smile, 400 Degreez can turn incredibly grim. It’s an album about what it’s like to be baptized in fire and the ways you need to be resourceful in order to survive—not to escape Hollywood shootouts, but to grit your teeth and keep creditors off your back, to keep from getting carjacked by kids who are bored and lashing out. On “Ghetto Children,” Juve raps: “I got bills to pay/I can’t be playing with you jokers.” On “Run for It,” Wayne is itching to jump out of trees and attack his enemies, but Juve writes about how he’d rather see the violence on TV. He’s seen and done enough to know how scarring it’s all been but can’t sit back and reflect without worrying. On “Gone Ride With Me,” the goal isn’t a big-body Benz, it’s rent money.

That paranoia—about kids who are ready to knock him off, about cops, about acts of God—seeps into the album’s crevices. Juve’s songwriting is, at its resting state, playful, buoyant, full of asides and knowing advice; he is in control. So when things seem out of his grasp (see his opening verse on “Off Top”), the record becomes not just frantic, but desperate, even hopeless. This feeling comes only in brief spurts, but compared to the poise that Juve usually trafficks in, it rattles the calm. “Ha” aside, Juve is most captivating when he’s at his most urgent, like on the title track: “You see me? I eat, sleep, shit, and talk rap/You seen that ’98 Mercedes on TV? I bought that/I had some felony charges—I fought that/Been sent to no return but still was brought back.” And even on “Ha,” the chorus casts the song as something more existential: “You know what it is/To make nothing outta something.”

And sometimes the joy and id and Gothic fear all blur into one. Near the end of the sessions for 400 Degreez , Mannie and Juve got the idea to resurrect one of those songs that had been a reliable concert staple in New Orleans, but had never been properly recorded, one that Juve had been rapping to the “ Paid in Full ” loop. The title might not have been stylized yet, but it was the early skeleton of what would eventually become “Back That Azz Up.”

That skeleton nearly shared its name with DJ Jubilee’s Jackson 5-sampling hit from the same period in 2003, Jubilee would sue Juvenile, Cash Money, and Universal, and lose. But Mannie sensed that Juve’s version was the one. It just needed the right beat. “[I knew] if we put 808 drums under this with the bounce, we got the hood,” the producer told Complex in 2012. But “we got to get white America too, how do we do that?”

The answer was strings. In the video , two men emerge from the fog like specters, one in a wheelchair, both slinging violins. That’s the song’s slow, morbid intro, a call for bodies to report to the dancefloor not just from the bar or the booths, but from beyond the grave. The men disappear and are replaced by Juve, in a white tee, who leans toward the camera and fires one of the most famous warning shots in all of rap’s history: “Cash Money Records taking over for the nine-nine and the two-thousand.” Then the 808s.

That video became inescapable on MTV. It served, along with “Ha,” B.G.’s “ Bling Bling ,” Wayne’s “ Tha Block Is Hot ,” and the Hot Boys’ “ I Need a Hot Girl ,” as the takeover. Despite being a last-minute addition to the album, “Azz” in particular distilled the label’s vision into a single song. It’s a rave in a haunted mansion: the song’s bass (and baseness) warp and contort its ornate flourishes. It’s the maximalist endpoint of that bounce-rap fusion. Wayne’s ad-libs-on-steroids cameo earmarks him as an obvious future star. And Juvenile raps like getting his partner to bend over is a matter of life and death, which it very obviously is.

400 Degreez is too idiosyncratic to have sprung from the minds of anyone but Juve and Mannie, but they didn’t seal themselves off from the rest of Cash Money. Nearly half the album’s songs feature some combination of the Hot Boys. One of the more interesting payoffs of this is that you get to catch the other three members at various stages in their development: that “Run for It” verse is jarring for how clearly Wayne patterned his flow after Juve’s, but B.G., who wrestles the formless posse cut “U.P.T.” into his own hands, is already a practiced star.

The best group song—and the album’s single greatest moment outside of those tentpole singles—is the anxious, defiant, unbelievably goofy “Flossin’ Season.” B.G. flashes a watch that you can see from a block away; Wayne sounds fully formed for once. Two different men compare their stunting to Evel Knievel; you can practically hear Baby arguing with an auto-body shop about how many PlayStations can realistically fit inside a Hummer. But it’s the principals who make the song transcend. Mannie’s beat and the urgency in Juve’s voice give “Flossin’ Season” its relentless forward motion—the quality that makes a song about watches sound like a matter of family honor. When Juve can’t make it to the bar without being hit on, it seems like the “Odyssey”; Mannie brags, in order, that he has: a burgundy jet, cities named after him; a big dick, a million dollars, and a Nissan Pathfinder; a half a mil riding on the Lakers; a Lexus that comes out in two years (it’s parked by the projects) and a motorcycle that comes out in 12 (it has the Batman fins); and a ring that Liberace can’t afford. Come over here and give a millionaire a hug.

There are traces of Universal’s handwringing, and signs that the label’s priorities got crossed during production. Words like “homicide” and “pistol” are occasionally censored, but they left in embarrassing errors: in the liner notes and on the CD itself, Mannie Fresh is credited as “Manny” Fresh. Fortunately, as on previous Cash Money releases, the art was handled by the legendarily gaudy Houston design firm Pen & Pixel. There’s Juvenile: propped up among the flames like Frankenstein’s monster. There are models pacing through a library. The “z” in Degreez has two vertical lines through it, as in “$.” But the album was a massive commercial success. It reached No. 9 on the Billboard 200—peaking in September 1999, almost a year after its release, due to the sustained strength of “Back That Azz Up”—and, in 2011, was certified quadruple platinum.

On a less quantifiable level, it helped Southern rap pierce the mainstream. It was the tip of the spear that preceded the region’s rule over the 2000s and 2010s. (Of course, that shine would be mostly reserved for Atlanta; even when Cash Money’s last, best hope finally made it, Lil Wayne fled his ravaged New Orleans for Miami.) JAY-Z , who was red hot following that year’s Vol 2: Hard Knock Life , tried to grapple with “Ha” on one of its two remixes, but despite being near his technical peak, he couldn’t find the right bounce to really sell his verse. In a way, that foreshadowed the next decade and a half for New York: trying to keep up with the South, but unable to match its first step.

But for Juve himself, things were never this good again. A few years later, he left Cash Money, claiming—as many artists have since—that Baby and Slim weren’t paying him anything near what he was owed. Both B.G. and Turk were sentenced to long terms in prison. Wayne, perhaps improbably, became the best rapper on the planet before realizing that he, too, was getting robbed. Mannie left the label. In 2005, Juve’s home was destroyed by Katrina; in 2008, his 4-year-old daughter and his daughter’s mother were murdered. Even his biggest commercial success was blackened by death: In 2004, a year before the hurricane, “ Slow Motion ” got Cash Money its first No. 1 hit in part because the song became a de facto tribute for Soulja Slim, who was murdered the day before Thanksgiving 2003 in the front yard of the house he bought for his mother.

Rap moves so fast that it can be difficult to pin down a new style’s influences beyond its most immediate predecessors. But what Juvenile and Mannie Fresh were doing in 1998 is part of the DNA for much of modern hip-hop, from the way Juve would bake melodies into his verses to the way Mannie blueprinted so much of our current sample-free production. 400 Degreez looms large over the genre, the way Juve’s sunglassed face lurks above the burning blocks on the album cover. It’s a strange, inimitable collage, full of fear and fire, unmistakably New Orleans and unrelentingly inventive.

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Two Decades of Juvenile’s 400 Degreez with Exclusive Digital Deluxe Release

It’s a throwback celebration for all hip-hop aficionados! The iconic and genre-defining multiplatinum rapper Juvenile announces a special treat with the digital deluxe release of his monumental album, “400 Degreez,” presented by UMe.

This isn’t just any release; we’re talking about a groundbreaking record that has stamped its beats in the annals of rap history. The 4x Platinum RIAA-certified “400 Degreez” will now include the unforgettable hits like “Ha” and “Back That Azz Up,” plus we’re getting bonus tracks that you haven’t heard before — “Party” and “We Be Blowing Money,” pumping fresh blood into our playlist.

Mark your calendars for March 29th for this deluxe digital drop! And the celebration doesn’t stop there. Come April 26th, grab the chance to own a part of music history with the reissue of “400 Degreez” on a collector’s 2LP color vinyl.

Blast “400 Degreez” and be engulfed by the same fervor that it sparked back on November 3, 1998. This album not only became Juvenile’s best-seller but also clinched the title of “the best-selling album in Cash Money Records history,” rocketing to 4x-platinum status.

Rekindling that excitement, Juvenile left fans electrified last year with a sensational performance on NPR’s “Tiny Desk” Concerts – one that went down as among their most viewed. The stage was owned by New Orleans legends, including Mannie Fresh, Jon Batiste, and Troy “Trombone Shorty” Andrews, bringing the heat and soul of The Big Easy live.

Ready for a nostalgia trip with a modern twist? Keep an eye out for a thrilling new music video for the album title track “400 Degreez” that’s about to hit the scene!

In the meantime, relive that landmark “Tiny Desk” Concert [(right here)](http://linktoconcert.npr.org). This is a must have collectors item.

400 DEGREEZ  TRACKLISTS

DIGITAL DELUXE 

• Gone Ride With Me
• Flossin’ Season
• Ghetto Children
• Follow Me Now
• Cash Money Concert
• Welcome 2 Tha Nolia
• Ha – Remix Version (Hot Boys)
• Rich Niggaz
• Back That Azz Up
• After Cash Money Concert
• 400 Degreez
• Juvenile On Fire
• Ha – Remix Version (Jay-Z)
• We Be Blowing Money

2LP COLOR VINYL

2. Ha 

3. Gone Ride With Me

4. Flossin’ Season

1. Ghetto Children

2. Follow Me Now

3. Cash Money Concert

4. Welcome 2 Tha Nolia

1. Run For It

2. Ha – Remix Version (Hot Boys)

3. Rich Niggaz

4. Back That Azz Up

2. After Cash Money Concert

3. 400 Degreez

4. Juvenile On Fire

5. Ha – Remix Version (Jay-Z)

Muni Long Talks Writing for Your Favorite Artists, Overcoming Lupus & Freestyle over “21 Questions”

Rap dads episode 8: kid capri talks daddy daughter duty, you may also like, iman nunez drops “numbers game” video featuring hdbeendope, tiwa savage unveils the “water & garri” trailer..., exclusive: saba “head.rap” ft ogi, madison mcferrin &..., watch the new trailer for ‘deadpool & wolverine’, supacell: a new netflix series created by rapman, dj premier & snoop dogg drop video for..., nas & dj premier release new single “define..., boldy james & rich gains team up with..., ysr gramz & enrgy beats drop explosive new..., grammy award-winning artist lucky daye unleashes new single..., leave a comment cancel reply.

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Juvenile Celebrates 'Monumental Achievement' of Classic '400 Degreez' Album With New Video for Title Track

The 1998 album also featured "Back That Azz Up," recently interpolated by Ye and Ty Dolla Sign.

View this video on YouTube

The book is what they will never abide by .

This week, Juvenile and Mannie Fresh rolled out a new video for the title track off the former's classic 1998 album 400 Degreez . To be clear, this isn't a new version of the song itself but is instead a fresh visual meant to celebrate the legacy of the Cash Money release, which notably features the recently-interpolated-by-Ye " Back That Azz Up ."

A message at the beginning of the video, available in full up top, states that its release is intended to commemorate the album's recent 25th anniversary.

"On November 3, 1998, Juvenile released his third studio album 400 Degreez ," the message reads. "The album went on to be certified 4x Platinum, having sold over 4 million copies. This groundbreaking album remains Juvenile’s bestselling project of his solo career. This visual is a celebration of the 25th anniversary of this monumental achievement."

The Diesel Filmz-directed video does indeed feel like a celebration, with the palpable artistic chemistry between Juvenile and Mannie on full display. By the time the first chorus hits, you're fully re-immersed in the world of a timeless song.

This April, Juvenile and Mannie will take the stage together as part of the New Orleans Jazz & Heritage Festival. Last June, the two linked up for an unforgettable and highly rewatchable performance on NPR's Tiny Desk series. Revisit that here .

Juvenile previously marked 25 years of "Back That Azz Up" (a.k.a. "Back That Thang Up") with a public expression of gratitude for "the azzes" that helped make its legacy possible.

"Y’all really been backing that azz up for a quarter century," Juvenile told fans in February. "I gotta hand it to the azzes. Y’all did yalls thang."

Amid reactions to the new "400 Degreez" video's release, fans have been looking back on the song's intoxicating production and the larger legacy of the album. Take a look below. It seems as though quite a few fans would love to see other artists take this approach with older songs in their respective catalogs, and I must say I agree.

Who's next?

400 Degreez is the greatest southern rap album of all time and I’ll argue with God about it. — Breedy Gonzales (@OakCliffSteppa) March 27, 2024

It’s so hard to me how Juvenile went back and made a video for 400 Degreez in 2024. Good shit is timeless 🤝 — I'm nobody bruh (@S_Roach) March 26, 2024

Juvenile just shot a video for 400 Degreez and I’m telling ya now this will be the start of something great. Mfs should of been on that wave — Shotty 🐊 (@407KingShotty) March 27, 2024

more rappers should be releases videos for decades old album cuts 🔥 https://t.co/ScUz67XpKM — hotbox (@thehotboxsocial) March 27, 2024

Manny fresh showed his royal ass on 400 degreez. He ain’t had no business dropping shit like that in 1998. — Val Venis (@shawdeeiipee) March 27, 2024

I kinda would love if people shot videos for their older songs. Better late than never. Juvenile - “400 degreez” https://t.co/Ine5bl29kW — BIGNOAH 👨🏽‍💻 (@BIGNOAH256) March 27, 2024

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Juvenile’s Tiny Desk Concert is the celebration of America we needed today

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On the cusp of a Fourth of July weekend likely to leave many young Americans freshly panicked about student debt and other ills, let Juvenile lift your spirits instead.

The 48-year-old New Orleans rapper — an elder-millennial favorite for tracks like “Slow Motion” and “Back That Azz Up” — came through with the set of the summer for his Tiny Desk concert. Alongside legendary Cash Money producer Mannie Fresh, he enlisted a cracking live band and horn section for a 10-song set to remind fans of the deep jazz, R&B and soul roots of Southern rap.

Although scores of major stars have passed through the Tiny Desk studios (Usher spawned a meme ecosystem out his performance), Juvenile’s appearance on the NPR staple was largely ginned up by fan demand. Perhaps they relished the friction of seeing one of the Y2K era’s bawdiest rappers in such a genteel format. The rapper was initially skeptical back in April — “Wtf is a tiny desk 😂and no 😂😂” he wrote on Twitter — before relenting : “Ok ok 😂😂 All Things Considered, 10k retweets and I will RECONSIDER doing @NPR Tiny Desk while drinking an ice cold #JuvieJuice.”

Juvenile and Mannie Fresh overdelivered — they gave a whole new read on their catalog together, drawing out the steamy old-soul roots of their collaborations. For “Project B—,” the Cash Money Millionaires supergroup track, they brought out Grammy winners Jon Batiste and Trombone Shorty; for “Back That Azz Up,” a string section from the Louisiana Philharmonic joined in, while guest vocalists the Amours brought regal harmonies to “Rodeo.”

Rap fans in the crowd — NPR employees and, we suspect, some Cash Money ringers who knew every word — thrilled to “Bling Bling,” “400 Degreez” and the Hot Boys’ “I Need a Hot Girl,” while featured a young Juvenile in its music video.

Juvenile, with a mouth full of jewelry and a camo bandana, and a jubilant Mannie Fresh made the most of the chance to show off the intricacy and history behind these floor-filling party tracks. (Watch it below, but know the lyrics are often not safe for work.)

America has a lot to be stressed out about right now, but we can absolutely be proud of this set today.

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Rapper juvenile celebrating 25 years of 400 degreez.

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New Orleans rapper Juvenile stopped by WDSU ahead of his big New Years Eve concert.

Juvenile is celebrating the 25th anniversary of 400 Degreez.

Juvenile has had a successful year between debuting his own beer, Juvie Juice and performing on NPR's Tiny Desk.

He was also honored with a Congressional Record from Washington, D.C. for his contribution to rap and honored by the New Orleans City Council for his accomplishments.

Juvenile and Mannie Fresh are set to perform with the Tiny Desk Band on New Year's Eve at the Saenger Theater at 9 p.m.

Tickets are on sale now on Saenger's website .

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• Hip-Hop 50 @ The Tiny Desk
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Juvenile: Tiny Desk Concert

Bobby Carter

Credit: Photo: Catie Dull

NPR Music is celebrating Black Music Month with an array of brand new Tiny Desk concerts. Together, these artists represent the past, present and future of Black music. This month of carefully curated shows is a celebration of Black artists expressing themselves in ways we've never seen before, and of the Tiny Desk's unique way of showcasing that talent.

"WTF is a Tiny Desk and no! " are the words that led to one of the most publicized journeys any musician has taken to get to NPR headquarters. That was Juvenile 's response to Twitter user @theylovemyke's request for him to play a Tiny Desk concert back in April. His response ignited Black Twitter, launching a barrage of tweets and reposts of favorite performances at the Desk, as fans implored the "T.C. soldier" to reconsider. His viral reconsideration led to a few DMs, which led to a few phone calls, and the date was set. Juve, like some rappers in his class, had never heard of our little nook in Washington, D.C., but he soon found out.

The pressure to deliver was palpable in the planning stages but as the band was assembled, my expectations were exceeded. Tiny Desk alumni and New Orleans natives Trombone Shorty and Alvin Ford were brought into the fold. Another Tiny Desk vet from New Orleans, Jon Batiste , flew in from London just to be a part of the set. Juvenile sourced The Amours from right here in D.C. to handle background vocals, along with string players from the Louisiana Philharmonic for the grand finale. The architect of the Juvenile/Cash Money Records sound, DJ Mannie Fresh , became the glue that pieced it all together. The result was one of the most rambunctious experiences at the Desk. The Hot Boy coasted through highlights from a decades-long, groundbreaking career, concluding with a performance of "Back That Azz Up," so exuberant that the audience demanded an encore and the band obliged. A Tiny Desk first.

• "Intro (feat. Mannie Fresh)"
• "400 Degreez (feat. Mannie Fresh)"
• "Bling Bling (feat. Mannie Fresh)"
• "Set It Off"
• "Slow Motion"
• "Rodeo (feat. The Amours)"
• "I Need A Hot Girl (feat. Mannie Fresh)"
• "Project Bitch (feat. Mannie Fresh)"
• "Back That Azz Up (feat. Mannie Fresh)"
• Juvenile: vocals
• Mannie Fresh: vocals, effects, keys
• Alvin Ford: music director/drums
• Josh Connelly: guitar
• DJ Raymond: bass
• Brandon Butler: keys
• BK Jackson: saxophone
• Trombone Shorty: trombone
• Kevin Woods: trumpet
• Jon Batiste: melodica
• Jakiya Ayanna: vocals
• Shaina Aisha: vocals
• Hannah Yim: violin
• Jake Fowler: cello

TINY DESK TEAM

• Producer: Bobby Carter
• Director/Editor: Joshua Bryant
• Audio Engineer: Josh Rogosin
• Creative Director: Bob Boilen
• Videographers: Joshua Bryant, Kara Frame, Maia Stern, Sofia Seidel, Michael Zamora
• Audio Assistant: Kwesi Lee
• Production Assistant: Ashley Pointer
• Tiny Desk Team: Suraya Mohamed, Hazel Cills
• Photographer: Catie Dull
• VP, Visuals and Music: Keith Jenkins
• Senior VP, Programming: Anya Grundmann

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Upcoming Concerts for Juvenile

• May 04 May 04, 2024 Las Vegas Festival Grounds Las Vegas View Concert
• May 18 May 18, 2024 Mable House Barnes Amphitheatre Mableton View Concert
• Jun 15 Jun 15, 2024 The Aretha Franklin Amphitheatre Detroit View Concert
• Aug 09 Aug 09, 2024 Brooklyn Bowl Brooklyn View Concert

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The additional dates are set for Georgia, North Carolina, New York, Indiana, and Texas

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Due to incredible demand, global superstar Niall Horan will be adding six shows to his upcoming tour, The Show Live On Tour 2024 , including a second show in New York at Madison Square Garden.

The additional dates in Georgia, North Carolina, New York, Indiana, and Texas are in support of Horan’s biggest tour yet and first headline run since 2018’s Flicker World Tour. He’ll be performing songs from all three of his solo albums, including The Show , released by Capitol Records on June 9. The world tour will kick off on February 20, 2024, in Belfast, UK at the SSE Arena.

Produced by Live Nation, the North American leg will launch on May 29, 2024, at Hard Rock Live in Hollywood, FL and include shows at Nashville’s Bridgestone Arena (June 3), New York City’s Madison Square Garden (June 13 and June 14) and Moody Center in Austin, TX (August 3).

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The Show , released via Capitol Records, is a deeply felt meditation on everything from mental health to the infinite complexity and uncertainty of love. It presents an endlessly spellbinding statement on following your heart to its absolute truth and finds Horan opening up to deliver some of his most vulnerable songwriting yet.

The album was previewed in the months preceding its release with singles including “Meltdown,”  which served as a cathartic release designed to help his fans, and  “Heaven”  – a defiant refusal to play along with society’s arbitrary rules.

“Horan’s emotional acuity, his musicianship, and confidence in his own instincts are there for all to see,”  The Independent  said of the album in a four-star review. “It’s full of laid-back Laurel Canyon-inspired ballads, heavy on the mellow, full of feelings about looking for sanity in a time of personal turmoil,”  Rolling Stone  added. “On  The Show , it sounds like Niall Horan knows exactly where he’s going.”

Back in May, the star took over Spotify’s Fresh Éire playlist , compiling a selection of the best in contemporary Irish talent. Among his selections were tracks from the likes of Inhaler, Cian Ducrot, Nell Mescal, Fontaines D.C., and more.

Visit Niall Horan’s official website for a full list of tour dates.

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