Bow Down is the debut studio album by American West Coast hip hop supergroup Westside Connection. . He was signed with Suave House before leaving for Rap-A-Lot Records. http://downsouthhiphop.com/, Twankle & Glisten 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. Sample from Goodie Mob, "Dirty South," LaFace Records, 1996. The label's first release under the partnership was an Eightball & MJG Greatest Hits album titled We Are the South. tippy('#footnote_plugin_tooltip_1518_1_94', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_94').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); An example of this is the description of Atlanta rapper T.I. Also, of course, if youre looking for luxury in Milan, you might want to check our list of luxury hotels in Milan. 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. Like other rap impresarios, he tried to expand upon his success in the music industry through branding and marketing products like the "energy drink" Crunk Juice (which was also the title of his 2004 album), as well as "a clothing line, a porn DVD, . Before he joined the Ying Yang Twins, D-Roc brought the rap spotlight to an Atlanta neighborhood with his catchy song and accompanying dance. Ultimately, the distinctiveness of crunk has as much to do with the ways in which it has been marketed and discussed as with its musical qualities.102Negus, Music Genres and Corporate Cultures, 28. tippy('#footnote_plugin_tooltip_1518_1_102', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_102').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The forces that propelled crunk from the underground to the mainstream were multiple and intertwined. All types Posts Photos Videos Music Articles Mixes Song plays 1.6K 2,905 Houston, TX Top 8 Top Tracks / View All Been Since 1983 4:45 The Dirty South existed at the intersection of two different types of affiliation. 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. Comin Out Hard was a southern classic and it put Suave House Records on the map. "In the field of representational politics," writes Katherine Henninger, "that is, the ongoing contest to assert what can and cannot be represented in a given culture visual representations have played, and continue to play, an extraordinarily complicated, nuanced role in the South. Their 1992 debut on local label Big Tyme Recordz caught the attention of Jive Records, who released several albums by the group, including the highly acclaimed Ridin' Dirty in 1996. Its lead single, "Where Ya Love At? Touching on traditional notions of (white) southern gentility and New South boosterism (Atlanta once proclaimed itself "the city too busy to hate"), she continues. In 2002, they bought the Mastersound studio in Virginia Beach where they had previously worked alongside Timbaland and Missy, changing the name to Hovercraft Studios. Sample from Mystikal, "Y'all Ain't Ready Yet," Jive Records, 1995. We start our selections with Dolce and Gabbana, a Milan fashion brand created by two assistant designers that decided they wanted their own designs studio. After that being said, there is one more thing about Milan, which has such importance and gives Milan the special feature for what is sought after fashion brands. The world of adult entertainment in the city and the emergent rap scene were highly intertwined, as shown in the film Dirty South (1996). 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. 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." Local independents like Cash Money, Parkway Pumpin', and Pack supplied the growing demand with releases by Juvenile, Lil Slim, Magnolia Slim, Pimp Daddy, Everlasting Hitman, Silky Slim, Cheeky Blakk, and dozens of others. For those who understand crunk as "a superficial music obsessed with perversity," the style's novelty is emphasized in descriptions of "rowdy choruses less like classic call-and-response hollers and more like howls of pain. The Dirty South served as a marketing hook and an alternate political imaginary, but as its proponents have achieved goals of genre inclusion, acceptance, and a piece of the commercial action, they have moved on to a different set of concerns. It was released on April 26, 1994 through Priority Records. But what made Houston into the South's early capital of rap was the 1986 founding of Rap-A-Lot Records by James Smith (later known as James Prince), "a young black salesman of used luxury cars," in partnership with Cliff Blodget, a white software engineer from Seattle.23Joe Nick Patoski, "Money in the Making," Texas Monthly (August 1998): 136. tippy('#footnote_plugin_tooltip_1518_1_23', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_23').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Smith worked on building a roster of local artists, eventually putting together a group called the Geto Boys. It made it thanks to the huge and diverse line of designs, from dresses, accessories, jeans, to perfumes. 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.). Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing. 14 Shots to the Dome is the fifth studio album by American hip hop recording artist LL Cool J. Contact Us! Studios, Skip Saylor Recording, and Track Record in California. 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. Recording sessions took place at Rockin' Reel Studios in East Northport, New York and at The Music Palace in West Hempstead, New York. This dirtiness can exist across the South with local variants. Below are two short essays on different themes in the visual culture of the Dirty South: the "rebel flag" and the "crunk body.". The club experience intensifies the expressive power of crunk. Some of our partners may process your data as a part of their legitimate business interest without asking for consent. Lil' Flip became one of Houston's newest stars in 2004. Early rappers like Mojo and the club DJ known as King Edward J attracted local audiences, but remained obscure outside the city. [and] crime reporter for the Tampa Tribune," published his fourth novel, Dirty South, the title, one reviewer explained, being "a reference to the new black sound coming out of places like Atlanta and New Orleans. Instead of reducing disorder to rule, dissonance gets magnified or multiplied; anomaly gets figured as monstrosity, and monstrosity itself becomes a way of casting out or expelling the new. Gangsta rap has always been popular in New Orleans, as seen in this gothic tale spun by Skull Duggery and released on Master P's label. He had dreamed to become an extraordinary designer, nowadays its seen all around the world, especially on magazine covers. ", 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. "The Guide," August 5, 2006. tippy('#footnote_plugin_tooltip_1518_1_105', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_105').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); At the same time, however, more than economic concerns motivate Lil Jon, who had put in years of work as an Atlanta DJ and producer, and also worked as an A&R representative and promoter for Jermaine Dupri's So So Def Records before launching his own recording career. It features guest appearances from 8Ball, Tela and MJG. For instance, Jason Berry asserts, "popular music . It features guest appearances from 8Ball & MJG, Christin, E-A-Ski, Ice Cube, N.O.L.A. Recording sessions took place at House Of Blues in Memphis, at Hippie House Studios in Houston, and at Pacifique Studios in North Hollywood. . When the majors did arrive on a scene, they sought to ally themselves with these local independents and harness the advantages in the form of both infrastructural development and the cultivation of "authenticity" that their established commercial and artistic networks provided. 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. We and our partners use data for Personalised ads and content, ad and content measurement, audience insights and product development. Sheer size or the presence of a large African American population alone did not guarantee that a city would become established as a center of rap production, but these factors clearly influenced the range of possibilities in the South generally. While rap has always been, with a few notable exceptions, dance music, the southern turn involved an increased emphasis on corporeal enjoyment at the expense of narrated experience. Explore releases from the Suave House label. "96"CD Reviews: Hip-Hop," The Irish Times, 15; Baca, "Bring In Da Crunk." 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. Nashville journalist Ron Wynn raises the alarm about Lil Jon, Pastor Troy, and other "member[s] of the down-home hip-hop crew utilizing Confederate garb" in an article highly critical of rappers who "are boasting the rebel flag everywhere," displaying a level of historical amnesia that Fisk University professor Raymond Winbush likens to a "a Jewish child [saying] 'Let's wrap ourselves in a swastika. It was released on July 30, 1996 through Suave House/Relativity Records. Enjoy the made in Italy tag! "Feelin' You" reached no. 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. "107Kelefa Sanneh, "Critic's Notebook: 'Laffy Taffy:' So Light, So Sugary, So Downloadable," New York Times, sec. Not only did an increasing number of Atlanta-based artists including Ludacris, T.I., Bonecrusher, Gucci Man, and Young Jeezy find national audiences, but the exposure of stylistic subgenres associated with Atlanta far outstripped that enjoyed by other cities in the South. The brands essence is the challenging process, the irreverent styles, and the provocative approach. She started a collaboration with prestigious names, creating capsule collections and also interior design projects. Even iconic southern groups like OutKast straddled an undervalued local urban club scene and a more nationally oriented rap scene, two venues which possessed substantially different values of spatial authenticity. . "79Baca, "Bring In Da Crunk"; Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon." Dirty States of America: the Untold Story of Southern Hip-Hop. Suave House II Records | Listen and Stream Free Music, Albums, New Releases, Photos, Videos Filter Stream Select the types of content you would like to see. 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. While some critics lauded the "complex, smart Southern production work" behind crunk, others found the music "vulgar, gnarly, bass-heavy," "joyless and bleak" with "rough, distorted basslines" similar to "gothic dirges. 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. The album peaked at number 26 on the Billboard 200 and number 4 on the Top R&B Albums. Production was handled by Tela himself with DJ Slice T, Jazze Pha, T-Mix and Insane Wayne. In this essay, I consider a decade of Dirty South developments. 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. Explore. This development occurred in a complementary fashion with the collective creation of the idea of a distinctive geographically based style and point of view. '"113Ron Wynn, "Reclaiming Confederate Flag Angers Older Black Generation," Nashville City Paper, August 1, 2001. tippy('#footnote_plugin_tooltip_1518_1_113', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_113').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); What seemed to Wynn a rising tide of historical amnesia in 2001 was really a passing sub-theme of southern rap. Suave House, Universal Records: UC-53105: US: 1997: Sell This Version: UD-53105: MJG: 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. Soon after Mystikal's signing, New Orleans' profile in the rap world received another boost when Master P's No Limit Records signed a lucrative deal with California-based independent Priority records. 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. The World Ain't Enuff is the third studio album by American rapper Tela. The only thing "southern" about the Geto Boys was their origin, which, in keeping with the moment, was perceived as an anomaly rather than a central feature of their ability to produce credible rap music for national audiences. Dolce and Gabbana A Milan fashion brand that brings the made in Italy tag around world, 2. "21Janine McAdams, "Let's Talk About Sexism On Recent Raps; Wreckx-N-Effect, Disco Rick, Duice, Dre Revealed," Billboard 105:4 (January 23, 1993): 21. tippy('#footnote_plugin_tooltip_1518_1_21', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_21').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The bass music produced in the city divided into two distinct camps: a raucous, chant-heavy variety oriented towards rowdy nightclub crowds who demanded salacious lyrics, and a more understated style that often eschewed lyrics entirely so that club or car-based listeners could enjoy the booming bass tones without distraction. Sample from DJ Kizzy Rock featuring DJ Smurf, "Crank this Shit Up," Ichiban Records, 1996. The stylish and luxurious Prada has been created a long time ago, having clients from all around Europe even in its first years. 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. Largely a satellite of the Miami Bass scene in the mid- to late-1980s, by the 1990s, Atlanta was one among several expanding southern urban rap centers. . Follow @JTizzlemuzic www.jtizzlemuzic.com facebook.com/jtizzlemuzicSubscribe http://bit.ly/1kniW5JIntro"- 1:39"Rider"- 4:28 (Tela)"Heat of the Night" (The F. Urbana: University of Illinois Press, 2002. What is at stake in the creation of imagined spaces of rap? 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. Indeed, Miami artists had to compete with increasingly prominent artists and labels from, most notably, Atlanta, New Orleans, and Houston. Production was handled by Smoke One Productions and DJ Slice T, with Tony Draper serving as executive producer. . "26Catherine Chriss, "For Houston's Geto Boys, Anything Goes in the World of Gangsta Rap," Houston Chronicle, Texas Magazine section, April 17, 2005. tippy('#footnote_plugin_tooltip_1518_1_26', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_26').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Rap-A-Lot continued to release music by Geto Boys veteran Scarface ("the label's biggest star"), as well as the significantly less angry Odd Squad, and found regional support for subsequent efforts by Odd Squad member Devin the Dude and a variety of Houston-based artists, including Ganksta N-I-P and The Fifth Ward Boyz.27Patoski, "Money in the Making," 1998. tippy('#footnote_plugin_tooltip_1518_1_27', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_27').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In 1995, Smith broke with Priority and negotiated a deal with Noo Trybe/Virgin to distribute Rap-A-Lot. . The label plans on releasi, Creative Commons Attribution-ShareAlike License. Strategically deployed, "southernness" was no longer a handicap within rap. Rather, it is the fact that historically rooted imagery and media-fueled fantasy remain so close to the surface of southern rap, its performance, interpretation, and evaluation. 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. It was released on October 22, 1996, through Priority Records. . Nuckle Heads, a newly formed group of 2 female rappers on Suave House, debut on this album. This song by an early Miami rapper shows a playful approach that is strongly rooted in African American vernacular music traditions. Freedom Du Lac, "From Memphis, Cranking Up the Crunk; Rap's Red Carpet Rolls Out for Al Kapone," Washington Post, sec. The album features guest appearances from Monica, Jermaine Dupri, and Lil' Kim. List of compilation albums, with selected chart positions Title Album details Peak chart positions US R&B; The Album of the Year (with Suave House Records) . Freedom Du Lac, "From Memphis, Cranking Up the Crunk; Rap's Red Carpet Rolls Out for Al Kapone,", John Soeder, "Nonstop Selling Eclipses Singing at Hip-Hop Show," Cleveland, Baca, "Bring In Da Crunk"; Lewis, "Lil Jon and The East Side Boyz Islington Academy Mon. [Kim Osorio], "The Front Lines: Southern Hospitality,", Carlton Wade, "Three 6 Mafia: Mark of the Beats,", Mary Colurso, "On Sellouts, Superstars, and Other Stuff,", "Universal Inks Record Deal With Emerging Alabama Rap Group Dirty,", Elizabeth Merrill, NU Rookie I-Back Lights Up Backfield. LaFace's most prominent success story and the rap group which has become most closely associated with Atlanta OutKast was, in many ways, atypical of the Atlanta club music scene that prevailed in the mid-1990s. "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). Discover. However, the strongly felt and expressed sense of place, combined with economic or artistic competitiveness, led these blocs to become increasingly hostile towards one another as Kelefa Sanneh writes, "the '90s saw the rise and fall of a bitter bicoastal war, which gave way to an explosion of regional styles. Sample from Odd Squad, "Coughee," Rap-A-Lot Records, 1994. Patricia Yaeger's analysis of the role of dirt in southern women's fiction illuminates deeper meanings of "Dirty South." Sample from Kingpin Skinny Pimp, "Where Ya From?," Basix Records, 2000. This song kicked off the "bounce" genre and catalyzed a conceptual revolution in New Orleans rap. 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. These factors encouraged an early adaptation or even a parallel evolution of the rap form. 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. The most prominent example of this was the frequent assertion by mainstream journalists that the word derived from "a blend of 'crazy' and 'drunk. 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. Discover what's missing in your discography and shop for Suave House releases. While almost never expressed explicitly in crunk lyrics, the anger, rage, and violence expressed in the music evokes contemporary social conditions of African American young men, as well as the media imagery that helps justify the persistence of these conditions. To view the purposes they believe they have legitimate interest for, or to object to this data processing use the vendor list link below. Prior to that time, any artist or group with serious national aspirations would have considered "southern" origins fraught with negative stereotypes, rather than a neutral factor or strategic advantage. Very nice and informative article, the picture are really beautiful! This might be due to the fact that the two have spent most of their career recording for the independent Suave House Records an influential yet financially troubled label but one could. The crunk vocal style is often characterized by collectively shouted or screamed performances, often in a call-and-response structure. While group members acknowledge their appreciation for both the spirit and musical content/ of the new rap sound coming out of certain southern cities, their appropriation of the term "Dirty South" is imbued with an explicit sense of "class consciousness" and is specifically linked by band leader Patterson Hood to "everything that went on in our [Alabama] hometowns politically and economically in the late '70s and early '80s. Valentino luxury fashion brands in Milan, 10 Most Famous Italian Fashion Designers | Italy Best. tippy('#footnote_plugin_tooltip_1518_1_30', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_30').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Suave House Records also played an important role in the continuing expansion of Houston's rap scene in the 1990s. Within rap culture, the utility and adaptability of the Dirty South popularized by Goodie Mob became evident in the various ways that ideas or images of dirt and dirtiness continued to proliferate in artist names as well as album and song titles. Journal of Popular Music Studies 16, no. Songs such as Three 6 Mafia's 1997 crunk anthem "Tear Da Club Up" invoke a level of crowd enjoyment which borders on violence and destruction, similar to the explosive combustion suggested by black artists in the mid-seventies who urged audiences to "tear the roof off the sucker" in a "Disco Inferno. (Accessed electronically through LexisNexis Academic on 13 April 13, 2007.) 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. The Attico brand from Milan promotes self-expression, showing your own style and its growing around customers thanks to every challenge that they dare them to overcome. The Tidewater region has not sustained a grassroots scene capable of providing an ongoing supply of aspiring artists and producers, and its relationship to rap's Dirty South is tenuous and fragile. 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. These uses existed simultaneously with the appropriation of the flag as a generic symbol of a marginalized, underdeveloped territory of rap music geography. "85Parliament, "Give Up the Funk," 1976; Trammps, "Disco Inferno," 1976; see Sarig, Third Coast, 277 for a connection between crunk's destructive imagery and that of Texas bluesman Blind Willie Johnson.
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