suave house records discography

Dupri achieved enormous commercial success as a songwriter and producer before the age of twenty with teen rap group Kris Kross. Even after his rise to prominence, he has frequently collaborated with obscure or up-and-coming artists by producing their music or making a guest appearance on their records: "we look at ourselves that we're on the same level with everybody . Sample from Lil' Jon & the East Side Boys, "Get Crunk," Ichiban Records, 1997. Before it became a rap subgenre, crunk's meaning evoked a high level of crowd energy and enthusiasm. [and] a beacon for many southern rap artists who were geographically or culturally distant from . . tippy('#footnote_plugin_tooltip_1518_1_49', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_49').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While it seems just as logical to connect a "dark sound" (or contemporary Memphis conditions) to the historical legacy of racism and poverty in the Delta region, either explanation conflicts with Kim O. a record label and now a series on MTV. "Features," February 6, 2005. tippy('#footnote_plugin_tooltip_1518_1_75', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_75').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As Lil Jon describes it, "crunk music is something parallel to rock 'n' roll or punk rock because of the energy it gives you. More Images Profile: American hip hop duo from Memphis, Tennessee comprised of 8Ball and MJG, who first met at Ridgeway Middle School in 1984. 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 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. It was released on July 30, 1996 through Suave House/Relativity Records. "37Sarig, Third Coast, 103. tippy('#footnote_plugin_tooltip_1518_1_37', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_37').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As Atlanta's rap scene began to gain momentum, a generation who took rap as their primary frame of musical reference came of age. 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. A local infrastructure began to take shape, with producers, engineers, and label owners from previous generations being joined by younger aspirants. . it's the closest thing to pure adrenaline, the closest thing to pure freedom, that these kids have. Even if the creator had died, his eclectic fashion style and legacy are kept alive through all the new collections of the brand, as well as the fame. The Dirty South succeeded in attracting national attention to previously ignored rap scenes in Atlanta, New Orleans, and Miami, but the catch-all "southern rap" oversimplified the connections between place and style. In a departure from 1970s club culture, crunk lyrics often turn other imagined club goers into targets for rhetorical rage and imagined assaults. However, in New York, California, and other places where rap scenes coalesced, women and girls played a central role as part of rap's audience. "77Josefina Loza, "Pitbull," Omaha World-Herald, Mar. It is a brand that highlights Italian craftsmanship and makes the made-in-Italy tag visible around the world, spreading the work of Italian artisans. Bass and similar club-oriented dance music continued to be produced and consumed throughout the South, but the production of these records was no longer limited to Miami. It was released on May 20, 1997 via Priority Records and re-released as Still For the People on April 24, 2007 via Duck Down Music. One need not look far for contradictions to this vision of a feel-good communal South with rural undertones. (Accessed electronically through Google Advanced Group Search on February 2, 2006. "84Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon." 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. The setting of the strip club depends upon the objectification of women, and crunk has drawn criticism as a music defined by "rampant misogyny. This exploration of the Dirty Decade responds to Tara McPherson's assertion that "specific understandings of how the South is represented, commodified, and packaged become key. "42Ibid., 164. tippy('#footnote_plugin_tooltip_1518_1_42', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_42').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As her recording career leveled off, she ventured into reality television in 2005 with her rap-themed reality show, The Road to Stardom. As Atlanta-based journalist Roni Sarig notes, while the Fifth Ward was one of the city's oldest black neighborhoods, it was in South Park, a newer black neighborhood that "encompasses both hard-core slums and middle-class streets" that some of the city's earliest rap music emerged.22Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007). The Buyer's Guide. Understanding the ways that place-based identities change within rap is of central importance.[/fn]. "There's no need for studio gangstas and desk thugs. This article is about the Suave House compilation album. This is the middle ground before you start going Deep South. If we include Miami in "the South" (a move which brings traditional geographical and historical definitions of the South into question) people had been rapping, DJing, and releasing records in this part of the country for almost two decades before the idea of "southern rap" as a category emerged in the mid-1990s. Sample from D4L, "Laffy Taffy," Asylum Records, 2005. "8Murray Forman, The 'Hood Comes First: Race, Space and Place in Rap and Hip-Hop (Middletown, CT: Wesleyan University Press, 2002), 179. tippy('#footnote_plugin_tooltip_1518_1_8', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_8').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Did West Coast artists and audiences initiate this change? Production was handled by Smoke One Productions, E-A-Ski & CMT, with Tony Draper serving as executive producer. 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. Before he joined the Ying Yang Twins, D-Roc brought the rap spotlight to an Atlanta neighborhood with his catchy song and accompanying dance. 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. It wasn't until the mid 2000's that he adopted his current stage . With platinum sales from 1997 onwards, Missy Elliot became "the biggest female artist in hip-hop history. 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. Sample from 2 Life Crew, "Ghetto Bass," Luke Skywalker Records, 1986. This period saw the substantial growth of major label investment in selected southern cities and the emergence of southern artists into the rap mainstream in terms of sales and exposure. New Orleans, Margaret G. Lee, "Out of the Hood and into the News: Borrowed Black Verbal Expressions in a Mainstream Newspaper,", Shane Harrison, "Sound Check: Sound Bites,", Patrick Anderson, "Southern Living and Dying,", P. G. Koch, "New Rap for Nick Travers; Glitzy, Druggy Milieu Works,", Chris Riemenschneider, "Drive South." 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. In this sense, the majors chose an overly cautious course that resulted in a diminished share of the potential profits. Andrew Leyshon, David Matless, and George Revill (New York: The Guilford Press, 1998), 287. tippy('#footnote_plugin_tooltip_1518_1_3', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_3').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Other scholars caution against a naturalized or taken-for-granted understanding of "'organic' relationships between music and the cultural history of [a] locale" and argue that participants appropriate "music via global flows and networks to construct particular narratives of the local." He was signed with Suave House before leaving for Rap-A-Lot Records. "Dirty South" is also used as a geographical referent, "a term for the South minus any states whose Southern character is debatable." Production was handled by Smoke One Productions, with James Endsley and Tony Draper serving as executive producers. "4Andy Bennett and Richard A. Peterson, eds., Music Scenes: Local, Translocal, and Virtual (Nashville: Vanderbilt Univ. Production was handled by Focus, Eminem, Black Jeruz, DJ Khalil, Domingo, Havoc, J. R. Rotem, LT Moe, Megahertz, Punch, Ron Browz, Sam Sneed, Sebb, Studio 44, and Sha Money XL, who also served as co-executive producer. "106Soren Baker, "Interview with Lil Jon & The East Side Boyz Feature," Murder Dog Magazine, http://www.murderdog.com/archives/2002/lil_jon.html (Accessed on May 20, 2008) tippy('#footnote_plugin_tooltip_1518_1_106', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_106').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The trajectory of crunk seems to await a newer Atlanta strip club music called "Snap," a less aggressive style characterized by slightly slower tempos than crunk and extremely sparse backing tracks which often feature the sound of snapping fingers as a meter (hence the name). Suave House Records was discovered by Tony Draper back in 1990. In 2000 they changed their label's name to Hypnotize Minds. '"34J-Dogg [John Shaw], "Parallels in the Development of Memphis and New Orleans Rap, " Rec.Music.Hip-Hop Usenet Newsgroup, Dec. 9, 1997. However, unlike the "invisible South" years, this lack of attention to the spatial imaginary of a wider South results from a taken-for-granted acceptance of the South and the authenticity of its rap music among national audiences and markets. Production was handled by Smoke One Productions and DJ Slice T, with Tony Draper serving as executive producer. He became involved in the music industry at a young age, thanks in large part to his father, an executive who helped organize the first touring rap concert in the early 1980s. We all know how Milan is called the economic heart of Italy, as most of the economical headquarters are based there and the worlds famous arts are beautifully displayed around it. They spread dedication to women, bringing unity and sisterhood feelings is what made the Marco Rambaldi Italian brand shine in the fashion industry. Has stores all around the world in the most important city like New York, Paris, Dubai, and many more. Yaeger, Patricia. The brands essence is the challenging process, the irreverent styles, and the provocative approach. 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. Production was handled by Bud'da, Quincy Jones III, Binky Mack, and Ice Cube, who also served as executive producer. Rap Music and the Poetics of Identity. Many of the rappers to emerge from Memphis have been tied to South Memphis and the Orange Mound neighborhood, the city's oldest African American community. as a "crunkster," when his style of composition and performance falls well outside the parameters of the genre as it has taken form.95Silvio Pietroluongo, Minal Patel and Wade Jessen, "Singles Minded; Country and Crunk among Year's Top Hitmakers," Billboard 116:52/117:1 (December 25, 2004/January 1, 2005): 70. tippy('#footnote_plugin_tooltip_1518_1_95', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_95').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true });Another reviewer writes that crunk was "made and minted in the US Dirty South, in new hip-hop strongholds from Atlanta to Houston," ignoring the fact that, with a couple of notable exceptions, "most of these cats grew up in the same Atlanta neighborhood. 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." Two regionally based stylistic spheres began to take hold. Uncle Al's high-energy vocal style is typical of live performances by Miami Bass DJs. When they were, it was within a schema where the only positive model was that of the older, self-sacrificing single mother. For all of its novelty in the areas of vocal performance, narrative voice, and musical backing, rap was strongly tied to previous genres of African American music, a fact which helped make the music accessible to Black southern audiences. This song instructs listeners on the dance and associated style of music that took Memphis by storm in the late 1980s. Still, it is difficult to separate the critique of sexism in crunk from the association of the music with "lower social orders." Or did they simply hitch their wagons to an emerging trend in rap? when rap was being created," Luther Campbell observed, "We DJ'ed differently down here." 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. Enigma is the second solo studio album by American rapper Keith Murray. This incarnation of the group was described in 1992 as "the hottest music figures to come out of the Houston area since Clint Black. Lil Jon and other crunk artists like the Ying Yang Twins have forged close ties with strip-club-culture and have not hesitated to make the eroticized, objectified female body (or parts thereof) central subjects of their expressions. The innovative designs from this Milan fashion brand are made through a mix of art, surrealism, and charm. The album peaked at number 15 on the Billboard 200 and number 4 on the Top R&B/Hip-Hop Albums chart. . Read Full Biography. It was released November 8, 1994 via Jive Records. 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. "111Henninger, Ordering the Facade, 88. tippy('#footnote_plugin_tooltip_1518_1_111', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_111').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The symbolic destruction of rebel flags by artists such as Atlanta's Lil Jon or Mississippi's David Banner continues a conversation within rap music circles about the legitimacy of the "South" as a site of authentic rap music. 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 group's "dark sound" based in satanic or macabre lyrical imagery (often voiced in "monotone chants") and "scary, eerie beats" represent, a writer in The Source remarked, "a reflection of their surroundings. 6, February 8, 2004. tippy('#footnote_plugin_tooltip_1518_1_40', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_40').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The music industry in Virginia Beach was largely nonexistent before the arrival of Teddy Riley, a New York-based R&B performer and producer famous for pioneering the "New Jack Swing" style with the group Guy. "64Chris Riemenschneider, "Drive South." The use, for instance, of the Confederate Battle Flag, or the "stars and bars" (which I abbreviate to "rebel flag") as a nostalgia-laden symbol for white dominance has persisted decades after the end of de jure segregation. 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. Overtown, [and] some parts of Opa Locka and North Miami") which came to be known as "Miami Bass" in the early 1990s.16James Bernard, "Bass 9-1-9," The Source 54 (March, 1994): 40. tippy('#footnote_plugin_tooltip_1518_1_16', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_16').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Referring to the 1970s, a period "before rap . He came to national prominence around 1990, when efforts by Moral Majority-affiliated critics to ban the sale of his bawdy records pushed him into the unlikely role of First Amendment champion. As Tia DeNora has demonstrated, the possibility for music to be used to organize subjective experience on a non-cognitive, embodied level is a dimension of music's relationship with agency that is often slighted in favor of an emphasis on semantic or symbolic meanings.87Tia DeNora, Music in Everyday Life (New York: Cambridge University Press, 2000), 47. tippy('#footnote_plugin_tooltip_1518_1_87', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_87').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); I suggest that rather than focusing on what the lyrics of crunk say, it is more productive to turn our attention to what crunk does for listeners (or what they do to themselves with it) in order to understand the power of the music. Valentino luxury fashion brands in Milan, 10 Most Famous Italian Fashion Designers | Italy Best. "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." Highly mutable and unstable, differences in musical style relate to the different cultural mix at work in various places, as well as to the efforts of empowered individuals or companies. The group's exposure to the national market depended upon the intervention of New York-based producer Rick Rubin, who signed the Geto Boys to his Def American label and produced a hard-hitting album of sample-driven material (understandably consistent with the dominant New York aesthetic) to support the group's gangsta rap lyrics. To view the purposes they believe they have legitimate interest for, or to object to this data processing use the vendor list link below. As Kyra Gaunt argues, "black girls' sphere of musical activity (e.g. Missoni. The "grotesque physical body," write Stallybrass and White, is "not simply a powerful image but fundamentally constitutive of the categorical sets through which we live and make sense of the world. Sample from Diamond featuring D-Roc, "Bankhead Bounce," Elektra/Asylum, 1996. Moreover, all the designer luxury brands in Milan are set as part of art heritage, for their vision and attention to detail. Continue with Recommended Cookies. The album peaked at number 26 on the Billboard 200 and number 4 on the Top R&B Albums. While the uses of the rebel flag in rap provide a unique perspective into issues of collective memory, regional identity, and symbolic play, it ultimately ties in to the specific policitics of rap in ways that are particular: "While southern rappers invoke the concept of 'representin'' that is so fundamental to rap," writes Richardson, "they have primarily used the concept to reflect their ongoing effort to make legible a South that has long been invisible in the rap industry," although it is more appropriate to say that representational politics form a central and dynamic part of the effort in question.
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