Bow Down is the debut studio album by American West Coast hip hop supergroup Westside Connection. The essay concludes with a foray into the visual culture of the Dirty South, revealing how rap music imagery has affirmed, critiqued, and confounded received ideas of the South. It is relatively difficult for a particular place to become familiar to wider rap audiences, but once achieved, artists, producers, and record labels from that city enjoy a significant advantage over those from seemingly more marginal places. Sample from Geto Boys, "Do It Like a G.O," Rap-A-Lot Records, 1990. In many of these scenes,the members of Goodie Mob are joined by others, forming a multigenerational portrait of friends, colleagues, and family. The first local rap record to receive radio play was the 1989 song "Ain't Nothing like the Bass" by W-Def. The rap scenes and styles in the other cities covered in this essay developed from years of collective grassroots activities, supported by local networks of clubs, radio, retailers, and small independent record labels. Hip-hop scholar Murray Forman has noted the correspondence between "the rise and impact of rappers on the West Coast" and a "discursive shift from the spatial abstractions framed within 'the ghetto' to the more localized and specific discursive construct of 'the hood' occurring in 1987-88. The album found huge success, peaking at number three on the US Billboard 200 and number one on the Top R&B/Hip-Hop Albums, and spawned two charting singles, "Money, Power & Respect" and "If You Think I'm Jiggy". Recording sessions took place at House Of Blues in Memphis, at Hippie House Studios in Houston, and at Pacifique Studios in North Hollywood. Ultimately, the attachment of a distinct musical identity to a particular place introduces a paradoxically enabling/constraining dynamic which exercises a substantial effect over all rap music production from that place. The multivalent and ambiguous sensibility that characterizes the concept in its use by creative artists and grassroots audiences in which tropes of energy and release are central became simplified and caricatured as the term went mainstream. "3Sara Cohen, "Sounding out the City: Music and the Sensuous Production of Place" in The Place of Music, eds. The album was met with some success on the Billboard charts, peaking at number 63 on the Billboard 200 and number 8 on the Top R&B/Hip-Hop Albums. The pursuit of local musical preferences in Miami, Houston, Atlanta, New Orleans, Memphis, and Virginia Beach outpaced the majors' ability to track, exploit, and profit from these emerging markets a lag due as much to "broader culture formations and practices that are within neither the control nor the understanding" of the major music corporations as to the limitations of technology or corporate strategy.14Keith Negus, Music Genres and Corporate Cultures (New York: Routledge, 1999), 19. tippy('#footnote_plugin_tooltip_1518_1_14', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_14').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Because of their cultural and geographic distance from emergent rap scenes in cities such as Atlanta and New Orleans, major music corporations left these local or regional markets to independent entrepreneurs until their profitability was beyond dispute. In 2002, they bought the Mastersound studio in Virginia Beach where they had previously worked alongside Timbaland and Missy, changing the name to Hovercraft Studios. Regardless, The Geto Boys was nothing if not controversial as one critic observed, it "was so verbally abusive that Geffen severed all ties with Def American, which never worked with Rap-A-Lot again."24Ibid. New York retained a symbolically and structurally central position, but suburbs like Long Island and nearby places like New Jersey and Philadephia began to be grouped with New York-based artists to form a cultural-industrial bloc called "the East Coast." Nowadays, the brand is a fashion icon, most of all for its menswear. Younger women were scorned as either stuck-up "bitches" or promiscuous "hoes." Reaction to this song among many in rap's fan base reached record levels of vituperation based upon "Laffy Taffy"'s perceived lack of sophistication and overly popular appeal. In addition to Atlanta-based artists like Lil Jon, The Ying Yang Twins, Bone Crusher, and Pastor Troy, Mississippi's David Banner and Memphis' Three 6 Mafia (arguably the uncredited inventors of the genre) also rode the crunk wave in the late 1990s. In addition to sustaining an interest in and a market for "mainstream" rap produced for national audiences, inhabitants of southern cities soon began the process of creating rich musical subcultures based around locally specific interpretations of the form. A few songs by Miami-based artists, like 95 South's "Whoot, there It Is" (1993), enjoyed mainstream success, but for the most part, the city's exposure declined in the mid-1990s as Atlanta's rose. Production was handled by Erick Sermon, who also served as executive producer, Redman, Rod "KP" Kirkpatrick and Busta Rhymes. Represented at various levels of abstraction, places exist in a nested hierarchy which spans between generalized metaregional affiliations (East or West Coast and now Dirty South) and extremely specific connections to particular black neighborhoods. These images of all-black social spaces are intercut with images of a white girl who sits alone in a fenced-in basketball court, absorbed in making a chalk drawing on the asphalt. However, Greekfest's demise did not deter Riley from his planned move, and he arrived in 1990, set up a studio and "actively embraced the local community" with charity events and talent shows.41Sarig, Third Coast, 158. tippy('#footnote_plugin_tooltip_1518_1_41', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_41').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); His presence helped focus the efforts of aspiring artists and producers, especially the team of Pharrell Williams and Chad Hugo, who worked on production and songwriting at Riley's Famous Recording studio under the maritime-inspired moniker The Neptunes while still in high school. In April 2008, Suave House signed a joint venture deal with Koch (Crosley, 2008). The world of adult entertainment in the city and the emergent rap scene were highly intertwined, as shown in the film Dirty South (1996). The inroads that crunk artists made into mainstream musical consciousness met with less than universal enthusiasm. Osorio's "Southern hospitality" marked by "manners" and a willingness of southern artists and labels to "stick together" lies over an imagined potential for lethal violence. tippy('#footnote_plugin_tooltip_1518_1_79', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_79').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); For many crunk artists, however, the style does not represent a repudiation or abandonment of the values and practices of prior African American popular music styles, but rather a continuation. "109Katherine Henninger, Ordering the Facade: Photography and Contemporary Southern Women's Writing(Chapel Hill, Univ. | Discography | Discogs Eightball & M.J.G. The Valentino house as Milans fashion brand has received an iconic status. In addition to Luther Campbell's various record labels, other independent record companies such as Pandisc, Joey Boy, and 4-Sight flourished as the popularity of Miami Bass grew in block parties and teen clubs, as well as "car races, car audio stores, clubs, skating rinks, and even strip clubs. Beats and basslines are augmented by minimalist synthesizer riffs. Rather than or in addition to the stereotypical expressions of masculine power and toughness that often characterize rap imagery, these artists have often represented themselves in ways which emphasize grotesquely contorted or distorted bodies, faces twisted into painful grimaces. . "54Elizabeth Merrill, NU Rookie I-Back Lights Up Backfield." That is why we have come with a selection of 10 luxury fashion brands in Milan to make sure you wont miss the sightseeing of the worlds fashion capital. "119Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (London: Methuen, 1986), 23. tippy('#footnote_plugin_tooltip_1518_1_119', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_119').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While crunk's representation of the body is particular and strongly tied to previous expressions within rap, its "fundamentally constitutive" role lends itself to Patricia Yaeger's observations about southern women's fiction in Dirt and Desire.120Richardson, Black Masculinity and the U.S. South, 215. tippy('#footnote_plugin_tooltip_1518_1_120', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_120').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Like the writers Yaeger considers, crunk artists often portray "irregular models of the body, . when rap was being created," Luther Campbell observed, "We DJ'ed differently down here." Also, of course, if youre looking for luxury in Milan, you might want to check our list of luxury hotels in Milan. "67Niels Jansen, "Totally Unofficial Rap-Dictionary (Bi-weekly Posting, part 1/2)," Rec.Music.Hip-Hop Usenet Newsgroup, December 1, 1995; Prolifik, "This Is Driving Me Krunk." Timbaland showcases his laid-back rap style and layered, eclectic production on this track. C, December 19, 2003. tippy('#footnote_plugin_tooltip_1518_1_59', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_59').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); A similar impulse underlies the appropriation of "Dirty South" by a variety of creative artists outside of the rap world. . She dedicated herself to the creation of unique custom-made designs, opening an Atelier in Milan. . "79Baca, "Bring In Da Crunk"; Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon." Production was handled by Smoke One Productions and DJ Slice T, with Tony Draper serving as executive producer. or Ice-T led to a steady progression of more pop-oriented rappers who exchanged authenticity for access to wider audiences, as in the case of MC Hammer, Tone Loc, or Young MC. Backed by Interscope, he founded a label, Beat Club, and signed white Georgia rapper Bubba Sparxxx as its first artist in 2001. Sample from S.W.A., "We #1," Kwik Burn Records, 2002. Minneapolis-St. Paul Star Tribune, sec. Like previous forms of black popular music, the stylistic and thematic changes that marked the emergence of crunk appear "closely related to changes in the state of mass black consciousness. . 4 (2006): 55-73. The particular cultural mix in Miami and its geographic proximity to the Caribbean has enabled the rise of a strong presence of 'reggaeton' music, a Spanish language form that draws upon dancehall reggae and rap. He continued to promote crunk as a rap subgenre, which found enthusiastic reception by listeners and critics.72"Power Players: Indie Labels," Billboard 117:19 (2005): 30. tippy('#footnote_plugin_tooltip_1518_1_72', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_72').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Lil Jon's role in the establishment of crunk speaks to the ways in which strategically positioned individuals or groups can exploit their access within the music industry to exercise significant influence over wider sense-making practices on the part of audiences, critics, and music companies. The duo hastily recorded a version of a song they had been performing at a nightclub called Ghost Town, with lyrics consisting of various phrases repeated and chanted in a rhythmic manner, backed by music taken from a recording of "Drag Rap," a 1986 song by New York group The Show Boys. The label plans on releasi, Creative Commons Attribution-ShareAlike License. The album peaked at number 47 on the Billboard 200 and number 8 on the Top R&B/Hip-Hop Albums. Campbell, Luther and John R. Miller. The emergence of the Dirty South represented a seismic shift in the established geographical imaginary of rap music, centrally related to claims of authenticity and marketability. 01-Player Listic Nation 02-Alvin Groom 03-20s 04-Better Off Dead 05-Nephrotitie 06-U Better Ask Somebody 07-Ghetto Life 08-AP9 09-Little. Grem, Darren E. "'The South Got Something to Say': Atlanta's Dirty South and the Southernization of Hip-Hop America." Dirty States of America: the Untold Story of Southern Hip-Hop. Bombast aside, the article and cover image that went with it represents the way that, like southern rappers of the mid-1990s, many more recent artists still perceive themselves as carrying the mantle of "revered leaders," with collective memory and pride related to the freedom struggle, combined with their repudiation, appropriation, or destruction of symbols of previous ideas of the South to form the latest "New South" identity. tippy('#footnote_plugin_tooltip_1518_1_28', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_28').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Other labels and artists added to the momentum Rap-A-Lot had initiated. Lyrically, crunk often derives its creative energy from imagining and describing violent conflicts or confrontations between groups in an "us against them" context. The "southern turn" in rap music involved, in addition to a complex and highly strategic play of identities, stereotypes, and imagery, a rearrangement of values within the music. South Circle also make an appearance here. His rapid-fire, animated lyrical style helped convince the established independent label Jive to sign him in 1995. In 2008, the title track was ranked number 53 on Vh1's 100 Greatest Songs of Hip Hop. . Composed of eleven songs, the album featured ten exclusive tracks performed by Suave House artists The Fedz, 8Ball & MJG, NOLA, Tela, Nina Creque, Thorough and Randy, with the exception of South Circle's "Geto Madness", which appeared on their 1995 album Anotha Day Anotha Balla. A shift in imagining the geography of rap opens possibilities to new participants. Groups like "the International DJs[,] The South Miami DJs, SS Express, and the Jammers" used turntables to mix records through loud, bass-heavy sound systems in parks, at parties, and nightclubs.17Campbell and Miller, As Nasty As They Wanna Be, 22. tippy('#footnote_plugin_tooltip_1518_1_17', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_17').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The Miami style that grew out of this scene involved distinctive techniques (such as "regulating") and distinctive aesthetic concerns which, as in reggae, centered around the generation and reproduction of extremely low, long and loud bass tones, as well an emphasis on layered, polyrhythmic percussion which can also be productively linked to Caribbean forms, shaped by a variety of fills and breakdowns. . Several of these artists recorded for local independent On The Strength. Along with Lil Flip, who "got his start rhyming on DJ Screw's tapes," these artists represent the vanguard in a scene that has managed to retain its prominence in southern rap even as Memphis, New Orleans, and Miami have slowed considerably since the Dirty South heyday of the late 1990s.32Kelefa Sanneh, "The Woozy, Syrupy Sound of Codeine Rap," New York Times, sec. Miller, Matt. After a positive review of Lil Jon's music by Kelefa Sanneh, one Canadian reader complained that the New York Times critic was only interested in "champion[ing] the worst in pop music," and decried the "appallingly cynical attitude" evidenced by Lil Jon's "tireless use of racially offensive language and his blatant objectification of women (in his lyrics and in his videos). Suave House, Universal Records: UC-53105: US: 1997: Sell This Version: UD-53105: MJG: "81Ricardo Baca, "The Rap on the Third Coast," Denver Post, sec. Understanding the ways that place-based identities change within rap is of central importance.[/fn]. We about being regular." Discover what's missing in your discography and shop for Suave House releases. LaFace's most prominent success story and the rap group which has become most closely associated with Atlanta OutKast was, in many ways, atypical of the Atlanta club music scene that prevailed in the mid-1990s. While dirtiness continues to be an important, if receding, trope within rap culture, the effects of the Dirty South imaginary rippled across other cultural spheres and adapted to new contexts in idiosyncratic ways. All over the world, the Armani label has become an empire, including a wide range of products, and spreading his philosophy to every fashion lover. Discography. While some crunk lyrics fantasize violence for mass consumption, I argue that, in addition, they relate to recent African American youth subcultural practices in the form of the nightclub experience as a central site for collective expression. It features guest appearances from Canibus, Cardan, Chico DeBarge, Erykah Badu, MJG, Psycho Drama and the Lost Boyz. His Ying Yang Twin partner, Kaine, suffers from cerebral palsy.117Benjamin Meadows-Ingram, "Okay Okay," XXL (September 2003): 150, 152. tippy('#footnote_plugin_tooltip_1518_1_117', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_117').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); These physical factors may have contributed to artists' decision to pursue music rather than, say, team sports; as Roni Sarig speculates, "it's possible that the birth defect made [DJ Paul] more introverted. [and] fractured, excessive bodies telling us something that diverse southern cultures don't want us to say." If you would like to change your settings or withdraw consent at any time, the link to do so is in our privacy policy accessible from our home page.. Backed by Interscope, he . Project Pat and La Chat engage in a humorous exchange of insults between the sexes. Suave House Records, better known as The Legendary Suave House, is a record label located in Houston, Texas founded by Tony Draper. It was released on July 30, 1996 through Suave House/Relativity Records. "4Andy Bennett and Richard A. Peterson, eds., Music Scenes: Local, Translocal, and Virtual (Nashville: Vanderbilt Univ. Crunk Kings: The Movie. 1972), who started in Atlanta's bass music scene in the 1990s: "Crunk is a term," said Lil Jon, "that's been used in the South for as long as I can remember. The label's first release under the partnership was an Eightball & MJG read more. . Writing to a Catholic Priest for Church Records. Urbana: University of Illinois Press, 2002. Music Week (February 5, 2005): 11. tippy('#footnote_plugin_tooltip_1518_1_70', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_70').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Referring to his 1996 release "Get Crunk (Who U Wit)," Jon recalled, "We were the first ones to use it in a hook and tell people to 'get crunk.' One of Houston's top rap acts moved to the city from Memphis in the early 1990s along with their record label. . Songs such as Three 6 Mafia's 1997 crunk anthem "Tear Da Club Up" invoke a level of crowd enjoyment which borders on violence and destruction, similar to the explosive combustion suggested by black artists in the mid-seventies who urged audiences to "tear the roof off the sucker" in a "Disco Inferno. It was released on July 29, 1997 through Suave House/Relativity Records. Usually oriented towards dancing, these forms were often characterized by a decreased emphasis on lyrical complexity, a prioritization of audience participation and engagement, and certain constellations of musical or lyrical devices. No Limit and Cash Money began to decline in terms of relevance and market share as 2000 approached.
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