It features guest appearances from 50 Grand, Kel-Vicious, Erick Sermon, Busta Rhymes, Dave Hollister, Jamal and Redman. This is the middle ground before you start going Deep South. Sample from MC T. Tucker & DJ Irv, "Where Dey At," Charlot Records, 1991. Sample from 2 Life Crew, "Ghetto Bass," Luke Skywalker Records, 1986. Project Pat and La Chat engage in a humorous exchange of insults between the sexes. Production was handled by Bink!, DJ Clark Kent, Lil' Shawn, Mo-Suave-A, Smith Brothers Entertainment and Ty Fyffe, with Kedar Massenburg serving as executive producer. and narcotically repetitive, slasher-flick textures," features which were instrumental for the emergence of the crunk style.36Tony Green, "Twerk to Do," Village Voice (Oct. 23, 2001): 149. tippy('#footnote_plugin_tooltip_1518_1_36', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_36').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Their first releases came out on their own Prophet Records, but with independent success, Three 6 Mafia signed with Sony's Relativity, and in late 1997 released their first record under the new arrangements. The CD cover of his album Put Yo Hood Up (2001) shows Lil Jon clad in a pair of black rubber coveralls, his open-mouthed expression of rage and intensity augmented by the added effect of gold teeth, sunglasses, and long dreadlocks, creating a general impression of a demented slaughterhouse worker or other grotesque. "35Sarig, Third Coast, 272. tippy('#footnote_plugin_tooltip_1518_1_35', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_35').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another pair of mixtape DJs, DJ Paul and Juicy J, began producing original material using local rappers, eventually forming a crew called Triple Six Mafia (later Three 6 Mafia). The sound of any given place within the national-level rap imaginary is a fluid, contested and necessarily over-simplified idea that becomes more problematic as it achieves larger levels of scale. . However, the local "bounce" scene, which had experienced a lull in the late 1990s, was reenergized around 2000 by the emergence of several gay male "sissy" rappers, including Katey Red and Big Freedia, and others. The Latin style blended with the black, Caribbean rhythm and colors. Crunk's acceptance is often characterized by an absence of contextual or historical understanding that masks its strong similarities with prior expressions of club or dance music produced in cities such as Atlanta or Miami. She dedicated herself to the creation of unique custom-made designs, opening an Atelier in Milan. 8642 Garden Grove Blvd. The Valentino house as Milans fashion brand has received an iconic status. These years saw southern artists rise to national prominence, with a related surge in major label interest and investment in southern rap, a process encapsulated and expressed by the idea of the Dirty South. However, the essentialist conflation of geography and musical style that lies under much of the critical and promotional discourse around crunk limited the possibilities for those who were not in a position to capitalize on them. Still image from the video for Dirty South by The Goodie Mob (LaFace Records, 1996). Yaeger, Patricia. 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." It features guest appearances from 8Ball, Tela and MJG. Missoni. Crunk Kings: The Movie. 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. of N.C. Press, 2007): 28. tippy('#footnote_plugin_tooltip_1518_1_109', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_109').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Her insight applies equally to the visual culture of southern rap. Sometimes compared to "slam-dancing" or "moshing" associated with punk, the dancing at clubs or concerts associated with crunk often is a rough and chaotic affair, with participants feeding on each other's energy as "the club gets truly unruly, when elbows are wildly thrown and moshlike mayhem erupts on the dance floor. You can find the Milan fashion brands collections online, on the brands own website, as well as at many distributors and shops all over the world. Keyes, Cheryl. Therefore, the symbol of the Milan fashion brand is rainbow hearts. "Kings Control Hornets and Win," Sacramento Bee, sec. Virginia Beach deserves note for its failure to conform. They spread dedication to women, bringing unity and sisterhood feelings is what made the Marco Rambaldi Italian brand shine in the fashion industry. 'Cause if you bark up the wrong tree, you just might getcha jaw broke, wig split, neck snapped . The draping of the rebel flag around his shoulders in the picture, far from constituting an endorsement, communicates the hostile occupation of a symbol. The cover image seems the worst nightmare of a white supremacist, a demonic, superpowered black man appropriating, occupying, and defiling the treasured symbol of Dixie. "6Kyra D. Gaunt, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. 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. To view the purposes they believe they have legitimate interest for, or to object to this data processing use the vendor list link below. Its all thanks to the luxury, manufacture, and embroidery skills shown. in 2004, an Atlanta-based reviewer criticized him as a "numbingly simple chanter [rather] than noteworthy rapper," and noted that Jon, once marginalized as "Southern" or "underground" or "independent," "now has the cachet to get A-list acts to join in on the inanity. The rhetorical rejection of the images and ideas related to a white supremacist South that often characterized southern rap of this period formed a point of identification between young black southerners and their counterparts in other areas of the United States, which black southern artists were capable of strategically exploiting.44Leigh Anne Duck, The Nation's Region: Southern Modernism, Segregation, and U.S. Forman, Murray. tempos, with vocal performances that were heavily rooted in call-and-response and relied upon short, repeated phrases rather than extended narrative raps.18J-Mill [Jeremy Miller], "Prince Raheem," The Source 54, (March, 1994): 22 ; Idem, "Bass Game: Clay D Returns to His Roots on His Latest Bass Odyssey," The Source 54, (March 1994): 32-33. tippy('#footnote_plugin_tooltip_1518_1_18', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_18').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As in other diasporic forms like dancehall reggae, "vocal and musical quality [were] as important to listeners as [was] the strictly lexical register" when it came to Miami Bass, and the rapidly-diffusing genre introduced a number of innovative and exciting developments.19Norman C. Stolzoff, Wake the Town & Tell the People: Dancehall Culture in Jamaica (Durham: Duke University Press, 2000), 19. tippy('#footnote_plugin_tooltip_1518_1_19', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_19').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The sonic qualities of many of these recordings were reminiscent of the 'electro' style that had briefly flourished in New York around 1982, when artists like Mantronix and Afrika Bambaattaa used futuristic themes and imagery to complement sounds generated with drum machines, sequencers, and synthesizers, drawing heavily upon the work of the German group Kraftwerk. In the early 1990s, New York-based Gravediggas (a Wu-Tang Clan offshoot) brought images of rap monstrosity to national audiences with vampire-fanged gold teeth and macabre lyrics evoking the paranormal or demonic. Tony Draper is the founder of Suave Records (aka Suave House), which, based in Houston, TX, grew to become one of the premier Southern rap labels of the 1990s. Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing. 2, December 5, 2004. tippy('#footnote_plugin_tooltip_1518_1_100', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_100').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Another writer connected crunk to an earlier generation's version of the archetypal southern, African American musical bogeymen, 2 Live Crew: These points deserve serious consideration, although I would argue that "grotesque" is a more appropriate frame for the representations in crunk than "parody." The album peaked at number 26 on the Billboard 200 and number 4 on the Top R&B Albums. Producers working in the crunk style often use drum machines, sequencers, and other "instruments," rather than samples from older recordings. An underexposed track from OutKast's debut album showcases sophisticated rap skills and forward-thinking production work. CAL, January 9, 2003. tippy('#footnote_plugin_tooltip_1518_1_99', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_99').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Crunk's detractors often expressed a mixture of musical and moral objections to the genre and its representative artists. Many participants credit 2 Live Crew's "Throw the D" (1986) as the first bass record, but it was joined by efforts from early Miami artists like Gigolo Tony, MC A.D.E., Clay D., The Gucci Crew, and veteran DJ and producer Pretty Tony. The Dirty South spread from a relatively insular rap music subculture to a wider, popular usage during the late 1990s along with the acceleration of investment on the part of major music corporations in the rap scenes of several large southern cities, including Atlanta, New Orleans, and Houston, as well as Memphis, Miami, and Virginia Beach. With releases by the group and protgs like Project Pat, Three 6 Mafia came to be the most successful Memphis rap enterprise during this decade. "105Hattie Collins, "Crunk in Charge," London Guardian, sec. The earliest rapper to develop any degree of more-than-local prominence was Peter "MC Shy D" Jones, a transplanted New Yorker who built a career rapping in Atlanta and Miami. Rapper Bun B and rapper and producer Pimp C had grown up in Port Arthur on the Texas-Louisiana border, but as UGK they gravitated to Houston's rap scene. It's like a ball of fire in your spirit. F, June 11, 2006. tippy('#footnote_plugin_tooltip_1518_1_63', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_63').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The website for a cover band from Northeast England called The Dirty South advertises "moonshine-laced southern rock" and features imagery and language that engage facile southern stereotypes (rebel flags, cowboy hats, "geetar," "hollerin'") in a manner somewhat comparable to blackface minstrelsy or the movie The Blues Brothers. [1] Landmark independent releases from flagship act 8Ball & MJG made the company a heavyweight in the South and the Midwest. At its peak, Campbell's rap empire encompassed multiple record labels and various nightclubs (including a 'teen club' called the Pac Jam). It features guest appearances from 8Ball & MJG, Crime Boss, South Circle and NOLA. Their investment followed rap audiences inside and outside of the South, whose tastes were being shaped and supplied by the efforts of independent local entrepreneurs. The album peaked at number 15 on the Billboard 200 and number 4 on the Top R&B/Hip-Hop Albums chart. 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.' The emergence of the term coincided with the maturation of a rap industry in large southern cities, especially Atlanta. Rap has put places on the map like the South Bronx or Compton that the mass media either ignored or portrayed as dangerous and hopelessly blighted. While Arrested Development or the Goodie Mob deployed speech patterns, familiar imagery, and lyrical references to locales such as Adamsville or East Point, later rappers expressed "southernnness" through the use of musical and stylistic signifiers widely understood by their audiences. In this excerpt the rapper lists a variety of labels, cliques, and places related to the Memphis rap scene. No Limit and Cash Money began to decline in terms of relevance and market share as 2000 approached. Imprisoned in an empty cage a structure that isolates as much as it protects the white child represents the reproduction in multiple generations of fenced-off, aloof whiteness.The specific use of a white girl to portray the passive, taken-for-granted (naturalized) perpetuation of racism and oppression builds upon a visual legacy in which, writes Henninger, "images, photographs in magazines and family albums . Minneapolis-St. Paul, Robert Christgau, "Consumer Guide: Inter-Century Freundschaft,". Production was handled by Erick Sermon, who also served as executive producer, Ty Fyffe, The Ummah and Rod 'KP' Kirkpatrick. "82Jones, "Get Crunk Huh!" "70Hattie Collins, "Crunk: Lots More Goodies in Store." Sarig, Roni. . See also "Additional reporting by Tony Ware," Creative Loafing (Atlanta), September 18-24, 2003. tippy('#footnote_plugin_tooltip_1518_1_38', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_38').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The statement shows how musical and visual style, social class, and regional affiliation could all be tied up in the same equation of rap music authenticity. Considerable investment by major labels began in 1989 when Antonio "L.A." Reid and Kenneth "Babyface" Edmonds moved to Atlanta and founded the Arista-backed LaFace Records. Billboard 200 and number twenty-three on the Top R&B/Hip-Hop Albums in early February 2003. Sample from Mia X, "Da Payback," Lamina Records, 1993. New Yorkers still dominated rap in the northeast throughout the 1980s, but as the decade progressed, many rap acts began to emerge from areas outside of the core neighborhoods associated with the genre's early years. 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). The concept of the Dirty South as elaborated by the Goodie Mob and other rappers and producers in several of the major cities of the South was complex, contradictory, and multidimensional.1Matt Miller, "Rap's Dirty South: From Subculture to Pop Culture," Journal of Popular Music Studies 16:2 (2004): 175-212. tippy('#footnote_plugin_tooltip_1518_1_1', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_1').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This multidimensionality encompassed ideas of a racist, oppressive, white South historically continuous with slavery; a 'down-home' black South marked by distinctive speech and cultural practices; a sexually libidinous South; a rural, bucolic South; a lawless, criminal South; and a sophisticated urban South. Explore Suave House Records's discography including top tracks, albums, and reviews. (with Suave House Records) Released: June 20, 2000; Label: Suave House; Formats: CD, digital download We Are the South: Greatest Hits: 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. The message is loud and clear: The dawn of the New South has arrived.115Branden J. Peters, "Native Sons," The Source 168 (September 2003): 150. tippy('#footnote_plugin_tooltip_1518_1_115', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_115').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Even the most devoted advocate of oppositional readings of popular culture would have to admit that the transformative effect of these rappers posing in Brooklyn for a magazine cover is overstated. It's not a pretty scene. Members of Goodie Mob make more explicit the understanding of "dirtiness" as it relate to the racist history of the South symbolized by the rebel flag. Sample from Goodie Mob, "Dirty South," LaFace Records, 1996. We and our partners use cookies to Store and/or access information on a device. His empire expanded all over Italy, and all over the world, opening shops in the United States, Japan, and many more. Which is where most pop music aims anyway, though Southern artists tend to be more upfront about it. . P, March 21, 2004. tippy('#footnote_plugin_tooltip_1518_1_61', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_61').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The imagery used on the cover of Atkins' book reveals the mutability of the Dirty South imaginary: one edition shows a desolate bayou, while another features neon signs and markers of urban decadence localized to New Orleans and Bourbon Street. The diminutive Bushwick Bill had family roots in Jamaica and had moved to Texas as a teen. This song crystallized a way of thinking about the South when southern rap was on the verge of becoming a national phenomenon. Bone Crusher, the comic book-inspired rapper from Atlanta, weighed in at 421 pounds as he prepared to slim down on VH1's program Celebrity Fit Club.116Rodney Ho, "Rapper Has Big Plans to Lighten Up His Look," Atlanta Journal-Constitution, July 31, 2006. tippy('#footnote_plugin_tooltip_1518_1_116', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_116').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); DJ Paul, one of the founding members of Memphis group Three Six Mafia, "was born with a stunted arm," while D-Roc of the Ying Yang Twins was born with several fingers missing from one hand. With Tennessee bordering nine different states, it is an ideal distribution center for all things corporate and criminal . We cover fashion, food, travel, lifestyle, brands, beauty, cultural insights, Italian restaurants and much more! [and] fractured, excessive bodies telling us something that diverse southern cultures don't want us to say." The production of Miami-style bass music quickly spread to other southeastern cities like Orlando, Jacksonville, and Atlanta. This approach is well represented by the Goodie Mob's "Dirty South" (1996), in which the group used the mapping of very specific and detailed Atlanta urban geographies to support a scrappy and, to some extent, defensive posture vis--vis the prevailing norms of geographic affiliation in rap. Following on the heels of several successful "snap" releases in 2004 by groups such as Crime Mob ("Nuck If You Buck") and Dem Franchize Boyz ("White Tee"), D4L broke open the Snap floodgates in 2006. . Niels 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." However, the representation of previously marginalized places does not occur in any sort of a uniform pattern only particular places, at particularly historical moments, are eligible for admission to the canon of authentic rap music places. Production was handled by MC Eiht, DJ Slip, DJ Muggs, Massive and Daz Dillinger. 2.2.1 1. The inroads that crunk artists made into mainstream musical consciousness met with less than universal enthusiasm. ", Joycelyn A. Wilson, "Show & Prove 2: Kamikaze, the Movement,", John Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon.,", Hattie Collins, "Crunk," 11; J. In the lyrics and imagery of the song, group members reject negative stereotypes (such as southern ignorance or inability to make credible rap music) and assert positive ones (such as community, family, and everyday culture). A world music sound from Timbaland helped this song reach the top of the national charts and Missy to become one of the most successful women rappers in history. These factors encouraged an early adaptation or even a parallel evolution of the rap form. A distinctive local interpretation emerged out of the everyday musical culture of the city's poor neighborhoods (including Liberty City, "Miami's most notorious sprawling ghetto, . This is the ingredient making the brand get value from the next generations of youths. Missoni is a large fashion house that added a diversity of models and collections to its labels. That the battles over classification formed around music recalls previous historical moments: "Music, like many other aspects of culture," Michael Haralambos has written, "is associated with particular groups of people," and "distinctions in music in part refer to and are related to distinctions between social groups." Sample from Trick Daddy, "In da Wind," Atlantic/WeA, 2002. spread throughout Memphis and the surrounding area, [and] became known as the 'gangsta walk. Its the brand founded by the Versace siblings, Gianni and Donatella Versace, tailoring designs from their childhood. Sample from Eightball & MJG, "Boom Boom," Suave House Records, 2001. tippy('#footnote_plugin_tooltip_1518_1_43', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_43').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Virginia Beach Audio Samples (Warning: Some of these audio samples contain explicit content.). Athens: University of Georgia Press, 2007. simultaneously assert the continuous, 'natural' existence of the white southern lady and bury the real and symbolic violences of gender, race, and class that this image was designed to mask. The shifting boundaries of "the South" in these definitions, and the fact that this uncited characterization of Dirty South as a discrete genre is not generally shared by music journalists, scholars, or artists who have commented on the subject, underscore the difficulties of dealing with a concept as mutable and adaptable as "Dirty South.". The most prominent example of this was the frequent assertion by mainstream journalists that the word derived from "a blend of 'crazy' and 'drunk. tippy('#footnote_plugin_tooltip_1518_1_82', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_82').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Often dismissed as meaningless or, at best, functional "inane party chants," crunk lyrics vary widely in complexity and meaning.83Baca, "Bring In Da Crunk." You can also check out our list of the best fashion brands in Rome, best Italian perfumes, shoe brands, lingerie, and swimwear made in Italy. Rappers like Three Six Mafia or Lil Jon, as well as music critics, revisit a variety of southern imaginaries that predate the rap era. tippy('#footnote_plugin_tooltip_1518_1_76', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_76').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); For artists and audiences, crunk is about the generation and release of collective energy. The consent submitted will only be used for data processing originating from this website. Until the late 1980s, when Los Angeles emerged as an up-and-coming center for rap music production, New York had enjoyed an exclusive claim on the genre. As Kyra Gaunt argues, "black girls' sphere of musical activity (e.g. Image Entertainment, 2004. . Sample from DJ Kizzy Rock featuring DJ Smurf, "Crank this Shit Up," Ichiban Records, 1996. "Sunday Showcase," August 22, 2004. tippy('#footnote_plugin_tooltip_1518_1_66', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_66').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The crunk concept was born in the late 1980s and early 1990s in nightclubs in southern cities like Memphis and Atlanta, as DJs, producers and artists strove to produce the kind of music appropriate to a rowdy, collective, and embodied experience. The understanding of the "Dirty South" and southern rap music generally finds articulation in the already familiar stereotypes of the South as variously backwards, abject, slow, corrupt, communal, down-to-earth, rural, or oversexed. The Atlanta scene's roots lay in the city's black neighborhoods, including the sprawling Southwest, East Point, and Forest Park near the airport, the areas surrounding the Atlanta University Center's cluster of historically black educational institutions, and "east side" neighborhoods like Decatur. 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. Innovative artists and stylistic approaches continued to emerge from Houston in 2005, critic Kelefa Sanneh claimed that the city "has been producing some of the country's best and weirdest rap since the late 1980s" and the local subgenre called "screw" played an important role in this process. tippy('#footnote_plugin_tooltip_1518_1_84', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_84').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While a critical engagement with and recognition of crunk's misogyny is important, there are other elements to the crunk lyrical world. Another notable appropriation of rap's Dirty South surfaced in February of 2004, with the release of an album by the Athens, Georgia, rock group Drive-By Truckers. Sample from OutKast featuring Goodie Mob, "Call of da Wild," LaFace Records, 1994. One commentator who supported her argument with many songs and videos by Miami- and Atlanta-based groups observed, "there remains a thin line between sex and sexism, and what's troubling, judging from the videos, is that the women in these clips don't have any clearer a sense of the difference than the men holding the mikes. 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. The various uses of the rebel flag in rap culture illustrate ways in which multiple imagined "Souths" exist simultaneously, informing, antagonizing, and playing off on each other, all the while complicating the symbolic discourse. ", Hattie Collins, "Crunk in Charge," London, Soren Baker, "Interview with Lil Jon & The East Side Boyz Feature,", Kelefa Sanneh, "Critic's Notebook: 'Laffy Taffy:' So Light, So Sugary, So Downloadable,", Beth Reingold and Richard S. Wike, "Confederate Symbols, Southern Identity, and Racial Attitudes: The Case of the Georgia State Flag,", Ron Wynn, "Reclaiming Confederate Flag Angers Older Black Generation,", Mosi Reeves, "Luda Disturbing tha State,", Rodney Ho, "Rapper Has Big Plans to Lighten Up His Look,", Photograph of Atlantas Lil Jon & the East Side Boyz, Comparison of imagery from mid-2000s CD and book covers, The English southern rock cover band The Dirty South, Billboard, Memorial Drive and Midway Road. 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. "122Tara McPherson, Reconstructing Dixie: Race, Gender, and Nostalgia in the Imagined South (Durham, NC: Duke University Press, 2003), 18. tippy('#footnote_plugin_tooltip_1518_1_122', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_122').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The mutability of the Dirty South (and the related phenomenon of crunk) and its widespread appropriation makes it easy to dismiss as a contrived and superficial marketing gimmick, but the Dirty South contested the received southern imaginary and stirred up the business of rap music in ways that had real consequences and which related to larger structuring forces of region, race, and class. 8Ball & MJG were the label's flagship act, beginning with Comin' Out Hard (1993), the duo's debut album and the label's inaugural release. It's just a spirit you have. Sample from Clipse featuring Pharrell Williams, "Mr. Me Too," Re-Up Gang / Star Trek, 2006. 4 (2006): 55-73. . [and] a beacon for many southern rap artists who were geographically or culturally distant from . We go to the clubs to find the crunk. Eightball & M.J.G. 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. The work of Memphis' best-known rap group is marked by extreme imagery and sonic constructions that figured centrally in the "crunk" style's emergence. Lil' Flip became one of Houston's newest stars in 2004. Elements taken from or inspired by screw tapes have also formed part of the local identity of Houston artists who are working in more commercial formats. . That is, it becomes the stuff of rebellion, the foundation for play, the ground of racial protest and gender unrest, as well as the earthy basis for children's delight in sullying grown-up categories."

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