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Remembering Gangsta Boo

Lil Wyte began listening to Gangsta Boo when she was in Three 6 Mafia. He was 12.

“She had the hardest verses,” Wyte says. “About demonic, crazy, insane shit. I was scared. It intrigued me because it was such a talented female rapper that could be that cutthroat on the microphone.”

Adds Al Kapone: “Very few female rappers can hold their own with the male rappers.”

Boo was “as strong as her male counterparts, but she didn’t lose her femininity in the process. She was able to spar toe-to-toe with the male artists.”

Kapone and fellow rapper Wyte reminisced about Gangsta Boo, who died January 1st in Memphis.

Born in Whitehaven, “Gangsta Boo” was her stage name. Her real name was Lola Chantrelle Mitchell.

Wyte was hooked after he heard Boo on “I Don’t Love ’Em” on Kingpin Skinny Pimp’s album, King of da Playaz Ball. “It was just her word play,” he says. “Her lyrics and her cadence and the way she could talk so much crap, and she was only like 16, 17 at that time.”

Lil Wyte first met Gansta Boo in 2001 when he signed to Three 6 Mafia’s record label. (Photo: Courtesy Lil Wyte)

Wyte met Boo in 2001 after he was signed to Three 6 Mafia’s label. “She was not too thrilled — being honest — about singing with a white artist. She felt like Three 6 Mafia had all they needed. Years later, we talked about it and joked about it and became friends.”

He was executive producer for Gangsta Boo and La Chat on the 2014 album, Witch. That album is “probably the hardest gangsta rap album to ever come out of Memphis. One of those gems that’s been overlooked. I love the album. It’s like they were playing tennis on it. Going back and forth. Boom. Boom. Boom. Just every single. Just killing every bit of it.”

Kapone met Boo in the mid ’90s. “Whenever me and Boo, throughout the years, saw each other it was always love,” he says. “She always showed me the utmost respect. She always gave me props. Let me know my early music inspired her and motivated her.”

He remembers her quoting the words to his song, “Lyrical Drive By.” “It’s one of the first early Memphis rap songs that inspired a lot of the Memphis rappers. And she let it be known that song did it for her.”

They did a song together, “Girls Like to Get Rich,” in 2015. “Her voice had a level of aggression, but it was totally feminine.

“She could rap slow styles or speed up rapid-flow style. Like really, really transition between those two styles with ease.”

Over the years, Kapone and Boo “kept in touch through texts. We always commented on each other’s Instagram posts. Again, always giving each other love and props.”

Wyte and his wife, Nicole Lanshaw, kept in touch with Boo after she moved to Los Angeles about two years ago. “She did a lot of cool little podcasts with people out there,” Wyte says. “She got more into the online scene.

“We were just together two weeks ago. Laughing, smiling, doing great. Everybody had money in their pockets. Everybody looked good, smelled good. She had that look of success. So for that to happen two weeks later was like, ‘Wow.’”

Wyte won’t forget when he heard Boo died. “All of us have that last date on that calendar.”

He got a call while he and Lanshaw were driving back to Memphis from a concert. Lanshaw started crying, but Wyte held it together. “Nicole told me Gangsta Boo would call me a bitch right now if she saw me crashing.”

Kapone was at an airport when he heard the news. He believes Boo was about to get a “whole new resurgence” among artists. “The new generation of female artists was going to give her her props and let people know she was their influence and she supported them.”

These rappers include GloRilla and Gloss Up out of Memphis and Latto out of Atlanta. Kapone believes these artists feel, “We’re here because of her.”

Those women were going to “take her to a whole new level. Give her a whole new resurgence.

“The writing was on the wall: 2023 was going to be a big year for Gangsta Boo. And to lose her the first day was unbelievable.”

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Music Music Blog Music Features

Beale Street Music Festival ’22 Recap: Saturday

The second day of the 2022 Beale Street Music Festival began without the logistical headaches of the first day, but under ominous clouds. Nevertheless, for as long as the weather held, the vibes were good, while the music ranged from the passable to the sublime.

This time, it was my personal logistical problems that led me to miss opener Blvck Hippie, one of Memphis’ coolest current rock acts. As Alex Greene reported in his Flyer cover story, this year featured more Memphis artists than ever before. Judging from the reactions our folks have been eliciting from the throngs gathered in the shadow of the Coliseum, increasing the locals’ main stage time is the best decision Memphis in May has made in a long time.

Lil Wyte whooping it with Al Kapone in the shadow of the Liberty Bowl.

The weekend has been a Memphis hip-hop homecoming. Friday night’s Three 6 Mafia set was literally the boom heard round the town. Lil Wyte’s show became a bone-shaking Frayser reunion, with Al Kapone joining the show to whip the crowd into a frenzy with the weekend’s umpteenth “Whoop That Trick.”

Ayron Jones in action on the Bud Light stage.

Across the former fairgrounds, Ayron Jones’s guitar heroics made ’70s-derived hard rock feel fresh. The razor sharp band’s music is made for the wide open spaces of the outdoor music festival. When they closed with a searing cover of Jimi Hendrix’s “Voodoo Chile,” I was reminded that I heard that song at my very first Beale Street Music Festival, when headliner Stevie Ray Vaughn tore it up three months before his death in 1990.

John Németh guests on harp with Mitch Wood and His Rocket 88s in the Blues Tent.

Here’s a tip from a seasoned BSMF rat: It’s always a good idea to pop into the Blues Tent for a minute to sit down and cool off. That’s how I caught Love Light Orchestra’s John Németh blowing some harp with boogie woogie piano player Mitch Wood and his Rocket 88s.

Project Pat and his posse packing ’em in.

The biggest crowd of the day so far was Project Pat — and I’m talking about the crowd on the stage, too. The Memphis rap idol brought his entire posse onstage with him, including some young dancers from LYE Academy who threatened to steal the show. “Chickenhead” and “Slob on My Knob” had the entire fairgrounds getting buck.

Grouplove’s Christian Zucconi and Hannah Hooper.

The festival circuit, which was bigger than ever before the pandemic, can be quite lucrative for bands who can crack into it. Grouplove, originally from Seattle, is one of the groups who optimized itself for summer fun. Singer Hannah Hooper has mastered the tricky art of communicating with a huge, easily distracted audience, with colorful wardrobe and big personality. Stone Temple Pilots new front man Jeff Gutt was another skilled practitioner of the carefully considered sweeping gesture.

Britt Daniel of Spoon

After impatient chants of “We want to spoon!”, Britt Daniel’s band Spoon took the stage to give the indie rock. “Five minutes ago, we thought we weren’t going to play, because of the storm,” said Daniel. After an ominous sunset, lightning was flashing in the west.

Don Bryant lifting souls in the Blues Tent, backed by Scott Bomar and Archie “Hubie” Taylor of the Bo-Keys.

As rain began to fall in the park, I was treated to the best performance of the weekend. With the Bo-Keys swinging like a barn door behind him, Don Bryant burned down the Blues Tent. The 80-year-old singer delivered deeply impassioned readings of songs from his decades-deep catalog. As squall lines lashed the tent and people danced in the aisles, a tourist turned to me and asked in slack-jawed amazement, “Who is this guy?”

“A genius!” I yelled.

Festival goers seek shelter under the eaves of the Mid-South Coliseum as storms hit the Beale Street Music Festival.

Don was almost done with his set when the announcement came to evacuate the venue. The supercell that we had all been watching on our smartphone radar apps was dumping penny-sized hail perilously close to the park, and the powers that be finally decided to pull the plug. As we scurried for the exits, I heard a passerby say “I guess Megan didn’t want to get electrocuted.”

Figuring the show was over, I called for a ride home. But the storm passed quickly, and two hours later Megan Thee Stallion and Smashing Pumpkins finally did play to the most hardy — and presumably wettest — festivalgoers.

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Calling the Bluff Music

Frayser Boy, Lil Wyte Perform at Not No Moe Album Release Party

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Academy Award-winning rapper Frayser Boy held an album release party for his latest project, Not No Moe, at the Purple Haze nightclub Wednesday night.

A few of the city’s notable rap artists came out to show support, including DJ Zirk (who actually hopped on the turntables for a second), Lil Wyte, Miscellaneous, Jason Da Hater, and Snootie Wild. Dennis Graham, the father of hip-hop star Drake, was even in the building.

After mingling with friends and supporters, Frayser hopped on stage to perform a couple cuts off Not No Moe. And fellow Bay Area representative Lil Wyte grabbed the mic to perform “Oxy Cotton” from his 2003 debut, Doubt Me Now.

Check out some brief footage I captured on my phone of the performances below.

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