Southern hip hop – Wikipedia

Music genre
“ Dirty South ( music ) ” redirects here. For the australian DJ and music producer, see Dirty South ( musician )
Southern hip hop, besides known as Southern rap, South Coast hip hop, or dirty south, is a blanket condition for a regional writing style of american hip hop music that emerged in the Southern United States and the Southeastern United States, particularly in Atlanta, New Orleans, Houston, Memphis, and Miami —five cities which constitute the “ southerly Network ” in pat music. [ 1 ] [ 2 ] [ 3 ]

The music was a reaction to the 1980s flow of hip hop acculturation from New York City and the Los Angeles area and can be considered the third major american hip hop scene, alongside East Coast hep hop and West Coast hip hop. [ 4 ] many early southerly rap artists released their music independently or on mixtapes after encountering difficulty securing record-label contracts in the 1990s. [ 5 ] By the early 2000s, many southern artists had attained national achiever, and as the ten went on, both mainstream and clandestine varieties of southern hip-hop became among the most popular and influential of the stallion writing style .

history [edit ]

Throughout the 1980s and 1990s, the american pelvis hop music market was chiefly dominated by artists from the East Coast and West Coast. Los Angeles and New York City were the two chief cities where hip hop was receiving far-flung attention. The West Coast was chiefly represented by groups like N.W.A., Death Row Records, and the East Coast had people like The Notorious B.I.G. and groups like the Wu-Tang Clan, Mobb Deep and Bad Boy Records. [ 6 ] In the belated 1980s, cities throughout the Southern United States began to catch on to the hip hop music drift. [ 6 ] The Geto Boys, a hep hop group from Houston, were among the foremost hip hop artists from the Southern United States to gain far-flung popularity. southerly hep hop ‘s roots can be traced to the achiever of Geto Boys ‘ Grip It! On That Other Level in 1989, the Rick Rubin produced The Geto Boys in 1990, and We Can’t Be Stopped in 1991. [ 7 ] After the Geto Boys rose to stardom, Houston became the center for Southern pelvis hop. Miami besides played a major role in the rise of Southern hip hop during this time frame with successful acts like 2 Live Crew ( originally formed in California but amply relocated to Miami around 1987 ) and other artists who relied heavily on the Miami bass sound. In the early 1990s, other rising rap groups such as PKO from San Antonio, Texas, UGK from Port Arthur, Texas, and 8Ball & MJG from Memphis, moved to Houston to further their musical careers. By the mid-1990s, Atlanta had become a center in southerly pelvis hop music. local output crews such as Organized Noize that represented hip hop groups such as OutKast and Goodie Mob played a huge partially in helping the South become a focus on for hip hop music. [ 8 ] [ 9 ] [ 10 ] A specify here and now for Southern rap was at the 1995 Source Awards. The duet Outkast had just been awarded Best New Artist, and within the tension that was the East Coast–West Coast feud, extremity André came up on stage followed by boo and said, “ But it ‘s like this though, I ‘m tired of them closed mind folks, it ‘s like we got tantalum demonstration tape but do n’t cipher want to hear it. But it ‘s like this : the South got something to say, that ‘s all I got to say. ” As stated by knocker T.I., “ Outkast, period. Outkast. That ‘s when it changed. That was the first time when people began to take Southern blame badly. ” [ 11 ] The most successful southern independent labels during the mid-to-late 90s came out of the cities of Memphis and New Orleans. Both scenes borrowed heavily from a production stylus first introduced by way of the obscure late-1980s New York rap group The Showboys, heavy sampling the beats from their birdcall “ Drag Rap ( Trigger Man ). ” [ 12 ] By the early 2000s these scenes found mainstream success through Cash Money Records and No Limit Records out of New Orleans and Hypnotize Minds out of Memphis, revolutionizing fiscal structures and strategies for independent Southern rap labels. According to hiphopdx, ” not only is the South on the radar, but immediately the region that was an underdog is the barometer for knock music and HipHop culture. ” By the early on to mid-2000s, artists from all over the South had begun to develop mainstream popularity with artists like T.I., Ludacris, Lil Jon, Young Jeezy from Atlanta, Trick Daddy and Rick Ross from Miami, Lil Wayne and Juvenile from New Orleans, and Three 6 Mafia from Memphis all becoming major label stars during this fourth dimension. [ 13 ] [ 14 ] In 2004, OutKast won six Grammy awards for their album Speakerboxxx/The Love Below, including Best Album, while in 2006 the members of Three 6 Mafia won the Academy Award for Best Original Song for “ It ‘s hard Out here For A Pimp ” from Hustle and Flow, a Hollywood movie about a fictional Southern rap artist. In 2005, the Houston rap scene saw a revival in mainstream popularity, and many Houston rappers started to get nationally and worldwide audiences such as Paul Wall, Mike Jones, Chamillionaire, Lil ‘ Flip, Slim Thug, Z-Ro, Trae, and many members of the Screwed Up Click. The altitude of southerly rap was reached from 2002 through 2004. In 2002, Southern rap artists accounted for 50 to 60 percentage of the singles on rap music charts. On the week of December 13, 2003, Southern urban artists, labels and producers accounted for six of the top 10 slots on the Billboard Hot 100 : OutKast had two singles, Ludacris, Kelis ( produced by The Neptunes ), Beyoncé and Chingy ( on Ludacris ‘ Disturbing Tha Peace label ). In summation to this, from October 2003 through December 2004, the numeral one position on the Billboard Hot 100 pop chart was held by a southern urban artist for 58 out of 62 weeks. This was capped by the week of December 11, 2004 when seven out of the top ten-spot songs on the graph were held by or featured southern urban artists. In 2004, Vibe magazine reported that southerly artists accounted for 43.6 % of the airplay on urban radio stations ( compared to 29.7 % for the Midwest, 24.1 % for the East Coast and 2.5 % for the West seashore ). [ 15 ] Rich Boy from Mobile, Alabama was successful in 2007 with his debut album. Since the early 2010s, many contemporary hip hop artists have become mainstream .

Louisiana [edit ]

In the late 1990s “ bounce ” music was born in New Orleans. Master P established No Limit Records. In 1992, Cash Money Records was founded, releasing bounce and gangsta rap music. Take Fo ‘ Records an independent criminal record label from New Orleans, was besides created in 1992 and the first to specialize in Bounce music, creating such artists as DJ Jubilee, Choppa. [ citation needed ]

Florida [edit ]

The one “ Throw The D ” by the group 2 Live Crew in January 1986 gave a permanent blueprint to how future Miami bass songs were written and produced. At the time the group consisted of Dj Mr. Mixx ( David Hobbs ) and knocker Fresh Kid Ice ( Christopher Wong Won ). Wong Won said that the song came about when he noticed a new popular dancing in Miami, when the Herman Kelly and Life ‘s song “ dance to the drummer ‘s beat ” played. The dance consisted of men throwing their hips back and away, while the girls would squat with their hands on their knees, bend over, and shake their buttocks. Wong Won suggested to Hobbs that they should adapt the hook, and they scratched it into the song. Wong Won felt his voice was besides high pitched for the hook, so Hobbs who came up with the practice did it using an copycat. Wong Won wrote the lyrics in twenty minutes on a plane ride returning to their base. last they booked a 16 track studios to record it. [ 16 ] 2 Live Crew released hit album “ vitamin a Nasty As They Wan sodium Be ” in 1989. [ 17 ]

tennessee [edit ]

Three 6 Mafia are from Memphis, Tennessee. [ 18 ]

alabama [edit ]

Gangsta rap group Dirty are from Montgomery, Alabama. [ 19 ]

georgia [edit ]

In 2009, the New York Times called Atlanta “ hip-hop ‘s center of graveness ”, [ 20 ] and the city is home to many celebrated hip-hop, R & B and neo soul musicians. [ 21 ] In the 1980s and early 1990s, Atlanta ‘s hip hop setting was characterized by a local anesthetic discrepancy of Miami ‘s electro-driven bass music, with stars like Kilo Ali, MC Shy-D, Raheem the Dream and DJ Smurf ( former Mr. Collipark ). [ 20 ] MC Shy-D is credited with bringing authentic Bronx-style rap to Atlanta ( and Miami ), such as 1988 ‘s Shake it [ 22 ] produced by DJ Toomp ; Jones was signed to controversial southerly rap pronounce Luke Records, run by Luther Campbell aka “ Uncle Luke ”. Arrested Development won the Grammy in 1992 with “ Tennessee “, while “ Mr. Wendal “ and “ People Everyday “ and Kris Kross won with their hit song “ Jump “.

By the mid-1990s, the rise of OutKast, Goodie Mob [ 23 ] and the production collective Organized Noize, let to the development of the Dirty South style of hip-hop and of Atlanta gaining a repute for “ soul-minded hip-hop eccentrics ”, contrasting with other regional styles. August 3, 1995 Outkast received the award for best new artist in New York City at the Source Awards. At the time the chief hip hop heard nationally was from artists on the East and West Coasts, due at least in separate to high profile disputes between rappers from each coast. It was groups such as Outkast who were determined to let the worldly concern know that the South had something to say. [ 20 ] From the recently 1990s to early on 2000s, producer Lil Jon was a drive force out behind the party-oriented manner known as crunk. Besides Crunk, at the start of the 2000s, independent southerly hip hop raised some eyebrows with Cunninlynguists. A group from Atlanta, Georgia and Lexington, Kentucky, though did not achieve a much commercial success as other southerly rap acts, found much critical acclaim for their 5 records released between 2001 and 2011. particularly their magnum musical composition, A Piece of Strange ( 2006 ) and its follow up Dirty Acres ( 2007 ). In 2009, the New York Times noted that after 2000, Atlanta moved “ from the margins to becoming rap ‘s center of gravity, character of a larger shift in rap invention to the South. ” This had a lot to due with the massive popularity of Waka Flocka Flame ‘s 2009 debut mixtape. Producer Drumma Boy called Atlanta “ the liquescent pot of the South ”. Producer Fatboi called the Roland TR-808 ( “ 808 ” ) synthesizer “ cardinal ” to Atlanta music ‘s versatility, used for photograph, crunk, trap, and pop rap styles. [ 20 ] The same article named Drumma Boy, Fatboi, Shawty Redd, Lex Luger and Zaytoven the five “ hottest producers driving the city ”. [ 20 ]

Texas [edit ]

Houston's Hip Hop artist Z-ro. Hip Hop artist Z-Ro from Houston Texas In the late 1980s, the Geto Boys were Houston ‘s first base tap group to gain mainstream popularity. In the early 1990s, Texas tap groups such as Nemesis, PKO, and UGK ( from Dallas, San Antonio, and Port Arthur respectively ) besides gained popularity. Before the early 1990s, most southerly hep hop was wellbeing and firm, like Miami bass and crunk. In Texas, however, the music started to become slower. In the early 1990s DJ Screw created “ chop and screwed ” music. Although people associated with Screw have indicated any time between 1987 and 1991, Screw said he started slowing music down in 1990. In Tulsa, Oklahoma, Dj Dinero And Dj Z-Nasty helped popularize Chopped And Screwed music in the Mid South. [ 24 ] There is no debate, however, that DJ Screw invented the music style. [ 25 ] He discovered that dramatically reducing the pitch of a record gave a mellow, heavy strait that emphasized lyrics to the point of about storytelling. After experimenting with the strait for a while Screw started making wide length “ Screw Tapes ”. between 1991 and 1992, there was increased misuse of purple drink in East Texas. Purple drink has been considered to be a major influence in the construct of and listening to chopped and screwed music due to its impression of slowing down perception. DJ Screw said that purple drink is not required to enjoy screwed and chopped music. Screw, a known exploiter of purple drink, said he came up with chopped and screwed music when high on cannabis. [ 24 ] As the scatter of Southern hip hop continued, its mainstream discovery occurred in 2000. Rap couple UGK made a high-profile guest appearance on Jay-Z ‘s smash hit “ boastfully Pimpin ‘ “ and besides appeared on Three 6 Mafia ‘s reach “ Sippin ‘ on Some Syrup. ” Both of these collaborations greatly increased their reputation and helped fuel prediction for their future project.The Hip Hop universe was fix for the next gamble but unfortunately the UGK knocker Pimp C died from a sudden heart attack after overdosing on imperial drink on December 4, 2007 at the age of 33. angstrom song that primitively appeared on the compilation album The Day Hell Broke Loose 2, Mike Jones ‘ “ even Tippin ‘ “, which achieved mainstream success in 2004 leading to local Houston tap pronounce Swishahouse signing a national distribution deal with Asylum Records. Jones released his major label debut, Who Is Mike Jones?, on Swishahouse/ Warner Bros. in April 2005 ; the album Who is Mike Jones ? went certified platinum that June. [ 26 ] Paul Wall ‘s major label debut, The Peoples Champ, on Swishahouse/ Atlantic, was released in September 2005, finally topping the Billboard 200. [ 27 ] Before embarking on his pat career and while even at school, Wall was besides working in the Swishahouse agency. [ 28 ]

North Carolina [edit ]

DaBaby, J. Cole and Petey Pablo are from North Carolina. [ citation needed ]

Virginia [edit ]

Timbaland and Pharrell are hip hop musicians from Virginia. [ citation needed ] Lil Ugly Mane is a hip hop musician who experimented with influences of Southern hep hop, specifically Memphis pat, on his 2012 album Mista Thug Isolation. [ 29 ]

Crunk [edit ]

The term crunk is chiefly used to denote a musical style that was originated by Three Six Mafia in Memphis, Tennessee, in the mid-to-late 1990s. It was popularized by Atlanta knocker Lil Jon, [ 30 ] and gained mainstream popularity in the period 2003–04. [ 31 ] A typical crunk track uses a barrel machine rhythm, heavy bassline, and shouting vocals, often in call and reply manner. [ 31 ]

See besides [edit ]

References [edit ]

further read [edit ]

  • Culture Wars. Rodney Carmichael [1]
  • A Musical Journey Through Atlanta’s Hip-hop History. Stephen Fowler [2]
  • A Brief History On How We Became The Hub Of Hip-hop & Rap. Kelsey Glass [3]
  • Rap, Hip-hop, and Bounce Music. Matt Miller [4]
  • A Brief History Of New Orleans’ Bounce Music Style. Rebeca Trejo [5]
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