suave house records discography

The city's highly-developed traditions of expressive culture represented by Mardi Gras Indians, brass bands, and "second line" parades provide analogues to the emerging rap scene in terms of the intensity of creative engagement and the strong sense of competition driving the efforts of rival groups or factions. Its the brand founded by the Versace siblings, Gianni and Donatella Versace, tailoring designs from their childhood. 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. Tony Draper Songs, Albums, Reviews, Bio & More | AllMusic "50Kim O., "The Front Lines," 40. tippy('#footnote_plugin_tooltip_1518_1_50', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_50').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); What is noteworthy here is not that The Source's editors and writers ignored the contradictions among the multiple meanings subsumed into the Dirty South imaginary. Envision red hot clay dirt, chicken coops, slow living, good people and family in other words, cold-hearted slum lifeand that's Dirty. This development occurred in a complementary fashion with the collective creation of the idea of a distinctive geographically based style and point of view. "68Side-bar story, Rolling Stone (August 19,1999): 91. tippy('#footnote_plugin_tooltip_1518_1_68', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_68').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); However, the word has an additional level of connotation for young African Americans in the South, encompassing both a desirable state of out-of-control abandon on one hand and an intolerable situation on the other. Stylistically, the album was consistent with the dominant trends in the New York- and Los Angeles-based rap mainstream. The album was composed of o, Suave House Records, better known as The Legendary Suave House, is a record label located in Houston, Texas founded by Tony Draper. Cool K's 1986 "I Need Money" is reputed to be the city's first recording, and formed part of the early scene along with club DJs like Soni D and Spanish Fly. "118Sarig, Third Coast, 273. tippy('#footnote_plugin_tooltip_1518_1_118', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_118').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); More intriguing, however, is the possibility that these embodied experiences of otherness contributed to the stylistic and thematic particularities of their music, performance, and artistic personae. The late 1990s saw yet another transition: an assertion of a wider, generic "southern" identity was increasingly abandoned in favor of more specific articulations of local identities keyed to city or neighborhood. For those in the right place (chiefly Atlanta), with music that fit the crunk conventions, this was a positive development. 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. It features three agreed-upon classics: Mr. Scarface Is Back, The Diary, and The Fix, with genre and legacy-defining albums in-between, including The Untouchable and Emeritus. In April 2008, Suave House signed a joint venture deal with Koch (Crosley, 2008). I [collaborate] with anybody if I like their [music]. On the "demand" side of this equation, the music produced in a given locale must accommodate national audiences' sonic, lyrical and thematic expectations in a way that does not push existing boundaries beyond their breaking point. when rap was being created," Luther Campbell observed, "We DJ'ed differently down here." Like other cities covered in this essay, the rap scene in Atlanta did not begin to build any sort of significant momentum until the late 1980s. The brand had its start in Milan around 1932 through a dream Valentino. 3, December 7, 2003. tippy('#footnote_plugin_tooltip_1518_1_55', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_55').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Two years later in Louisiana, police closed Dirty South Kennels for its association with illegal dog fighting.56Michael Perlstein, "Fighting Back." Crunk songs often use tempos around 75 b.p.m., which, being relatively slow within the rap spectrum, allows for sparse beats to be accented with double-time hi-hat parts and bass drum fills. Ph: (714) 638 - 3640 Fax: (714) 638 - 1478 These factors encouraged an early adaptation or even a parallel evolution of the rap form. tippy('#footnote_plugin_tooltip_1518_1_65', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_65').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Like Atkins' novel, though, some reviewers resist the decontextualization of terms and ideas appropriated from rap music culture: as one complained, the album "has a clever title but remarkably little crunk. 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). Miami, Atlanta, New Orleans, and Memphis supported artists and labels making distinctive music for local crowds. Sample from Ying Yang Twins, "Wait," TVT Records, 2005, The Ying Yang Twins took crunk from a scream to a whisper in this 2006 hit. With platinum sales from 1997 onwards, Missy Elliot became "the biggest female artist in hip-hop history. Artists including Lil Jon, The Ying Yang Twins, Juvenile, Trina, Trick Daddy, and David Banner benefited from the creative work of earlier rappers who made more literal and direct reference to southern signifiers. New York or Los Angeles. This incarnation of the group was described in 1992 as "the hottest music figures to come out of the Houston area since Clint Black. Sarig, Roni. 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. 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. 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. The label plans on releasing upcoming albums from Jiggolo and Gillie Da Kid (Crosley, 2008). West-coast artists E-40 and Mac Mall both make appearances on this album, along with Big Mike a one-time member of Geto Boys. 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. ACTIVITY 1995 - 2009 LABEL (S) Rap-A-Lot 2K, Rap-A-Lot Records, Suave House DISCOGRAPHY Albums Appeareance All Sample from Trick Daddy, "In da Wind," Atlantic/WeA, 2002. Production was handled by Smoke One Productions and DJ Slice T, with Tony Draper serving as executive producer. While establishing a place-based identity can prove profitable for artists and labels, there are less desirable consequences, often in the form of expectations of an intrinsic and monolithic relationship between performer and place that excludes as many artists as it empowers. Valentino luxury fashion brands in Milan, 10 Most Famous Italian Fashion Designers | Italy Best. 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. 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." People go to church to find the Holy Ghost. Follow @JTizzlemuzic www.jtizzlemuzic.com facebook.com/jtizzlemuzicSubscribe http://bit.ly/1kniW5JIntro\"- 1:39\"Rider\"- 4:28 (Tela)\"Heat of the Night\" (The Fedz)\"Trapped\"- 4:08 (Nola)\"Just Like Candy\"- 4:45 (8Ball \u0026 MJG)\"Questions\"- 4:35 (Thorough of South Circle)\"Starships and Rockets\"- 4:16 (8Ball and Randy)\"Life Is Crying\"- 4:14 (Nina Creque and Nola)\"Geto Madness\"- 4:02 (South Circle)\"Death Notes\"- 4:24 (The Fedz)\"Dusk Till Dawn\"- 3:51 (The Fedz)RELEASE DATE:July 29, 1997 We go to the clubs to find the crunk. http://twankleandglisten.blogspot.com/, A journal about real and imagined spaces and places of the US South and their global connections, Matt Miller, "Rap's Dirty South: From Subculture to Pop Culture,". The mutability of the Dirty South allows the "abyss" that Yaeger observes to be mapped onto other overlapping social and geographical divisions, from regional identity and class among African Americans, to that which exists between established and ascending rap scenes. In this critique, Lil Jon's ability to relate to audiences with catchy choruses and beats (many of which he produces) represents a betrayal of a static and monolithic "movement" represented by elite artists "who have shown you can stay true to the 'dirty,' spit creative lyrical content/ and still move a crowd. 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. Sample from Underground Kingz, "Front, Back & Side-to-Side," Jive Records, 1994. Below are two short essays on different themes in the visual culture of the Dirty South: the "rebel flag" and the "crunk body.". Explicit thematic strains found in "Dirty South" included the shadowy world of the illegal drug trade in which neighborhood-based groups battle for their share of the spoils and try to avoid corrupt police; the mistrust that is a legacy of the white racist past; and an ideal of slower, friendlier, everyday life in southern black communities. Uncle Al's high-energy vocal style is typical of live performances by Miami Bass DJs. 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." A variety of artists including 39 Posse, Tim Smooth, and Warren Mayes rose to local fame. The prominence achieved by "crunk" speaks to the increasing centrality of Atlanta rap culture and willingness on the part of national audiences and major music corporations to accept and support southern urban club music scenes and styles that would have previously been considered underground or, at best, the source of the occasional one-hit wonder like D-Roc or Duice. Production was handled by Tela himself, along with DJ Slice T. It features guest appearances from AK, Devin the Dude, Gangsta Blac, Jazze Pha, Low Key, Money Marv and Scarface. In many of these scenes,the members of Goodie Mob are joined by others, forming a multigenerational portrait of friends, colleagues, and family. This process results in music "styles which are the result of an 'interlocking of local tendencies and cyclical transformations within the international music industries'. . ", Mike Schultz, [letter to the editor] "Crunk as in Stunk,", Martha Bayles, "Troubled Soul: The Man Who Started It All Heads for the Finish Line,", Collins, "Crunk"; Ricardo Baca, "Lil Jon Crunks it up for All-Stars,", Delgado, "Crunk Candy: On Location with Lil Jon, Trick, Hootchies, and Director Mamas. They got us pigeonholed. The New Orleans rap scene incubated in concerts, nightclubs, teen clubs, house parties, and block parties throughout the city, as well as through radio play and recording sales. It was released in 1999 through Kedar Entertainment/Universal Records. Mortgage in Italy features stringent requirements for non-resident borrowers. 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. Furthermore, they adapted to every specific customer demand, observing how the diverse labels appeal to each kind of customer. Sample from Clipse featuring Pharrell Williams, "Mr. Me Too," Re-Up Gang / Star Trek, 2006. The work of the Odd Squad embodies a soulful and less aggressive take on the Houston rap style. (Accessed electronically through LexisNexis Academic on 13 April 13, 2007.) 2.2.2 2. Sample from OutKast featuring Goodie Mob, "Call of da Wild," LaFace Records, 1994. "109Katherine Henninger, Ordering the Facade: Photography and Contemporary Southern Women's Writing(Chapel Hill, Univ. a record label and now a series on MTV. 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. Geography poses no obstacle to the appropriation of the Dirty South. The album features guest appearances from Monica, Jermaine Dupri, and Lil' Kim. Now you know about the Milan fashion brands, and about their high quality. A Nebraska college football player originally from Horn Lake, Mississippi, described his technique as '"Dirty South' running, a combination of power, speed and agility. As the acceptance of southern rappers, producers, and audiences grew, the need for the expression of ideas related explicitly to a Southern imaginary subsided. Place-based affiliations can elevate an artist's status. Rec.Music.Hip-Hop Usenet Newsgroup, October 7, 1998. tippy('#footnote_plugin_tooltip_1518_1_67', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_67').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In Rolling Stone, a 1999 "glossary of Dirty South slang" defined Get Crunk as "get excited. The New Orleans rap infrastructure was still largely nonexistent. Lil' Flip became one of Houston's newest stars in 2004. During the late 1990s, preferences of national rap audiences became more closely aligned with those of audiences in the major urban centers, black suburbs, and even small towns across the South. The descriptions of crunk as "simple, catchy," "crude," or even "outrageously puerile" often imply a distinction between two broad classes of music, which correspond to the intellectual and the corporeal (metaphorized as high and low, respectively): "like Lil Jon, and more than a few of his other Southern brethren, [Georgia rapper Pastor] Troy's aiming for that grossly reactive section of the brain that governs activities below chest level. C, April 5, 2004; Peter Mergendahl, "Books at a Glance." Go directly to shout page. 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. . It features guest appearances from Canibus, Cardan, Chico DeBarge, Erykah Badu, MJG, Psycho Drama and the Lost Boyz. Its starring people revealing their own style while wearing their creations everywhere around the world. Building upon his "underground" success with minimal marketing and radio support, Master P leveraged a $30-million deal with Priority in 1996 in which he retained the rights to keep his master recordings. "94Collins, "Crunk." Recording sessions took place at Jus Fresh Recording Studio in Houston. Geography plays an essential part in the conception of authenticity that characterizes the genre, and the history of rap music entails a continual growth of place-based imaginaries. Prada Milans fashion brand, in a continued expansion, 5. Singles. Backed by Interscope, he founded a label, Beat Club, and signed white Georgia rapper Bubba Sparxxx as its first artist in 2001. This song by an early Miami rapper shows a playful approach that is strongly rooted in African American vernacular music traditions. It features guest appearances from Erick Sermon, Redman, Hurricane Gee, Jamal and Paul Hightower. A similar release by DJ Jimi in 1992 helped establish a distinctive sound, and a vital scene coalesced around the new style of music soon christened "bounce." 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 description contrasting the action in one of his music videos with a "normal video," Lil Jon states: "No mansions. The musical aesthetics that underlie rap music production shifted towards a focus on loud and low bass tones and tempos matching the expectations of audiences dancing in clubs. 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. Virginia due Clipse raps over a sparse, futuristic beat from The Neptunes. Parliament, "Give Up the Funk," 1976; Trammps, "Disco Inferno," 1976; see Sarig, Jon Caramanica, "Lil Jon and the East Side Boyz,", Celeste Fraser Delgado, "Crunk Candy: On Location with Lil Jon, Trick, Hootchies, and Director Mamas," Miami, Sonia Murray, "Lil Jon, Crew Crank Up Chant with A-List Assist,", Silvio Pietroluongo, Minal Patel and Wade Jessen, "Singles Minded; Country and Crunk among Year's Top Hitmakers,", Murray, "Lil Jon, Crew Crank Up Chant with A-List Assist. "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." . suave house records discography - HAZ Rental Center (Accessed electronically through Google Advanced Group Search on February 2, 2006.) P, Sept.15, 2005; Martin McNeal,. Property maintenance in Italy from 1% to 3% of the property price per annum. Southern scenes incorporated and absorbed the changes and products of the national rap music industry, accepting or rejecting them according to their own preferences. Nevertheless, it is incorrect to conceive of rap music in the South as a phenomenon that stops at the city limits of the urban centers that have become known for their artists and scenes it was and remains a much more diffused process within a hinterland/urban center arrangement. '"92William Safire, "On Language: Kiduage," New York Times, sec. When crisis erupts, when change grapples towards history, it is configured via appalling body images as something excessive, as monstrosity. Property tax in Italy from 9% to 10% on purchases. The Album of the Year - Wikipedia Sample from Mystikal, "Y'all Ain't Ready Yet," Jive Records, 1995. It was released on April 26, 1994 through Priority Records. 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 . Sample from DJ Michael 5000 Watts, "Weight a Minute Freestyle," Swishahouse, 2004. ", Ricardo Baca, "The Rap on the Third Coast,", Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon.". They spread dedication to women, bringing unity and sisterhood feelings is what made the Marco Rambaldi Italian brand shine in the fashion industry. 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. Sample from SMK, "Da Gangster Walk," Brutal Records, 1991. . Rap artists and companies selling their music profited from the place-based authenticity that association with established centers of production provided. Suave House Records also played an important role in the continuing expansion of Houston's rap scene in the 1990s. 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. Garden Grove, CA 92844. a keen sense of . Slightly older than The Neptunes, producer Tim "Timbaland" Mosely and rapper/producer Missy Elliot have done much to elevate Virginia Beach's profile, but the two artists left the area in the mid-1990s, as a collaboration with R&B singer Aaliyah propelled them into the pop spotlight. The club experience intensifies the expressive power of crunk. Discover what's missing in your discography and shop for Suave House, Inc. releases. A close reading of The Source's "Dirty South" reveals a puzzlingly conflicted mixture of connotations and perspectives. 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." Some of our partners may process your data as a part of their legitimate business interest without asking for consent. Southern rappers did not invent the "embodied rap grotesque"faces twisted into grimaces, bodies contorted or distorted, teeth fashioned into over-the-top "grills." Minneapolis-St. Paul, Robert Christgau, "Consumer Guide: Inter-Century Freundschaft,". These two central features the city's relative isolation vis--vis the centers of rap music industry and its deeply rooted traditions of expressive culture, including those related to carnival profoundly influenced the development of the New Orleans rap scene and style. It seems unlikely that any other southern metropolis will be able to catch up with the investment and expansion that have solidified Atlanta's position as the rap capital of the Southeast. The lyrical and philosophical perspective of Memphis-based rappers is often described as "dark and menacing," qualities that could just as easily be linked to the haunting Delta Blues that once flourished in the area, as to the bleak economic circumstances faced by many Memphians in this majority African American city.33Sarig, Third Coast, 281. tippy('#footnote_plugin_tooltip_1518_1_33', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_33').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Memphis' history as a center for black popular music in the Southeast helped it achieve some degree of rap prominence, but the city was not positioned to compete with larger regional centers like Houston, Miami, New Orleans, or Atlanta. In 1998, New Orleans' second remarkable partnership formed between major labels and a local independent. Chicago: University of Chicago Press, 2000. An analysis of the "Dirty South" music video in light of statements by group members reveals how the production engaged, and was informed by, the outcry over official displays of the rebel flag and debates about the flag's meaning. The areas most affected by flooding were also those which provided the most consistent support for the local rap scene. With an idiosyncratic style and athletic delivery, Mystikal became one of the earliest New Orleans-based rappers to move from regional to national markets. Suave House Records, also known as The Legendary Suave House, is a record label in Houston, Texas, United States, founded by Tony Draper. Suave House Label | Releases | Discogs 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. F, September 16, 2003. tippy('#footnote_plugin_tooltip_1518_1_74', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_74').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The association of the "riotous, anthemic music" and its "rebellious chants" with "rambunctious behavior" figured centrally in artists' and critics' attempt to compare it to previous genres of youth music.75Hattie Collins, "Crunk," 11; J. Our third luxury brand from Milan is Versace. In Montgomery, Alabama, the two-person Dirty parlayed the local and regional success of their independently released album into a deal with Universal.

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