IN 1998, WHEN I FIRST SHOWED EVERYONE THE LYRICS to “Nann,” the consensus was that it would never get played on the radio. People thought the lyrics were just too raunchy, with more references to private parts and what to do with them than in a sex-education class. Luke already had Congress all over him. I had already told Ted upon signing me that no one was going to make me change what I had grown used to. I was going to show my gold grills and do what I do. I wasn’t one of those flashy, drenched-in-glitter, made-for-TV rappers. If the critics didn’t like it, they could kiss my black ass. People felt my music because it was believable. I was just a two-time convicted felon that could rap that wanted to show the world the circumstances that made me who I was. After some heated rebuttals, everyone got on board, but I wanted to add a twist to the song. I needed a partner in crime, so to speak. It’s safe to say Miami girls got the most sass and attitude of any females around. You can’t find a more ride-or-die chick than a Miami girl. They’re the definition of what I call ghetto but classy. Hollywood’s ex-girlfriend Katrina was all the above. After leaving high school, she was trying her hand at cosmetology school and stripping on the side. I approached her with the lyrics to the song, and she initially thought I was crazy.
“Trina, there isn’t another bitch that can represent on this song like you,” I told her.
She finally agreed. We started pushing the record in strip clubs. It’s the best venue to break records because guys follow whatever music women like. Strippers certify hot music. Besides, I didn’t have to harass some well-known radio personality for airplay. Strip club deejays are always open to new music. Then we hit the road. We piled inside a rented white, fourteen-passenger van and hit small Southern towns to promote the song.
Soon the hook to “Nann” was blaring out of car stereos. All the clubs were playing it. The record became the first Southern rap song to get major radio play in New York, the mecca of hip-hop. I landed my first national hit. The major labels came knocking down Ted’s doors. Universal had signed that mega $30 million deal with Cash Money Records so all the majors were looking for that next big Southern act. With the stable of rappers we had, there was no question that Miami was the next town to take hip-hop to another level. Ted ultimately inked a deal with Atlantic Records. The money and everything that comes with it began piling in. The music video for “Nann” began popping up on MTV and BET, along with white spots on my face.