The rise of the Dirty South in the ’90s proved once again that hip-hop is a unique kind of cultural phenomenon: while other American music styles occurred in several different cities at once, hip-hop was born in the largest urban areas (New York and, soon after, Los Angeles), and then migrated out to the other African-American oases around the country, like Philly, Houston, Atlanta, New Orleans, and St. Louis. These days, however, hip-hop connects urban centers in America like no other music, which means that major trends in hip-hop can pop up anywhere along the line. This explains how something like Black Lilly can rise up in Philadelphia back in 1998, and exist as an increasingly vital presence in most large hip-hop markets just a few years later.

Originally conceived by Illadelph neo-soul/hip-hop godfathers the Roots as a showcase for the Philly scene’s female hip-hop and R&B artists, the Black Lilly began as an independently funded weekly event mixing soul, rap, and jazz music with live accompaniment to create an experience that was one part industry night, one part open-mic and one part jam session. With the city’s Five Spot nightclub as a base, it gave exposure to female rappers in the city of Brotherly Love and in the process helped elevate artists like Jill Scott, RES, and Jaguar Wright to national prominence.

Other AA capitals soon began to realize what the gathering could do for their scene, and the event soon spread to Atlanta, London, and New York City. In NYC, a young rapper/entrepreneur named Myself began to involve himself with the Lilly, working with ?uestlove and one of the Roots’ managers, Toya Dey, to develop a Gotham version at the famous Wetlands club. When Myself moved home to New Orleans two years ago, it seemed only natural to expand the night once more. Which brings us to the Mama Blues Café on 616 N. Rampart, upstairs from Mama Rosa’s Pizza: every Thursday night at 9, the doors open on a unique mix of musical styles that seems tailor-made for a culturally diverse city like New Orleans.

And maybe it is; the city has a well-deserved rep, after all. “New Orleans is famous for knowing how to throw a party,” says Myself. “We wanted to keep the women in the forefront, but also play up the live musician angle and create more of a festival environment. We build off of that foundation [of female soul and R&B artists], but we don’t limit it to that.” The constants are local female rapper Kiné, who hosts the Thursday shows, and DJ Dynamite Dave Soul, who lays down the beat everyone else follows. “There’s tons of spots where you can get that open mic flavor,” says the rapper, but “here, the DJ component is very instrumental, because he acts as our drummer.”

That mix of live DJing and live musicians sitting in is a heady one, made even more mercurial by the ever-shifting lineup and the loose, jam-style atmosphere, which encourages musical crossbreeding. Local musicians who have taken the stage include female jazz vocalist Sky, Adrian Watkins of the Russell Batiste Orchestra of the Hood, alt-funker Liquid, poetic soul outfit Kelly’s Love Jones, and jazz trumpeter Kenneth Higgins.

The night, which has been going on since September, has proven so successful locally that the organizers and sponsors (including Universal Fam, Russell Simmons’ Def Poetry Jam, okayplayer.com, Vibe magazine, and local AA directory New Orleans Black.com) have created a second Black Lilly night, called the Urban Hangout Suite. Every Saturday at Maxwell’s International (200 Magazine), the Lilly vibe is recreated, with a few twists: “Saturday we like to feature national artists more whenever possible,” says Myself. “We also cater to more of a reggae and worldbeat vibe.” Myself himself hosts, but true to the spirit of the original Lilly, he’s looking to install a local female rapper named Marvelous in that spot. National artists have already started to stop in: a recent show saw underground rap kings Slum Village taking time out from their India.Arie tour to sit in with the house band. Muses Myself, “It gives these labels out there a chance to develop their artists in addition to the college market, where they don’t get that kind of [urban] feedback.”

“Everybody’s kind of getting in where they feel comfortable,” he continues, “building relationships and coming to network, but also giving people a place to showcase their talent. The more you can arm an independent artist, the more you can build his career.” Saturday’s version also features more DJ action, for as the rapper points out, “the MC has been the focal point and the figurehead in this music, but we need to put that in perspective, because it’s the DJs who helped them get their shine in the first place.” Pause. “Besides, I know tons of DJs, and if I don’t help them out, they’ll kill me,” he laughs. For info on either night, call Roots Edutainment at 568-0498 or e-mail [email protected].