Since the early 1990’s Southern hip hop has made quite a bit of noise and managed to build up its own unique sound. That southern slang that we heard from our parents or previous generations placed on a hardcore, irresistible, head nodding beat solidifies that the sound is something created directly from the culture and for the culture. The South has always had a “grinding from the ground up” approach to getting heard and accepted into mainstream hip hop America. From the respect that a group like The Geto Boys received, to the independency of Master P selling music out of his trunk and building his empire from the streets up, to the rise of the Cash Money Millionaires and their protégés Young Money, the south has made their own opportunities work for them when other parts of the country wouldn’t give them a chance. There are endless styles, slang, and subcultures within the the south that are now looked upon in a different light because of Southern artists ability to adapt to the hip hop game and still express themselves as they would in the streets. It would be inevitable that the culture would spill into our music. At one point it was said that music was flooded with gritty east coast lyrics and sometimes overlooked other parts of the country because of the “lack in lyrical content.” Now we have artists like Lil Wayne (the self proclaimed Best rapper alive) topping the charts and commanding a his own team of artists from all over that are here to make a name for themselves as well. Rick Ross’s Maybach Music imprint is in heavy rotation just as Lil Wayne was back in 2008 and 50 Cent was back in 2003. Southern hip hop brought the club scene and partying to our culture and put the fun back in it. With Atlanta and Miami single handedly bringing the strip club culture to the light. Not to say it wasn’t there before but cities like Atlanta, Miami, Texas, and New Orleans have now opened up new avenues for artists that don’t sound like traditional artists that were played on the mainstream radio can feel more comfortable with being themselves and not having to prove to listeners who are only listening for one type of sound or tv stations that will only play one popular sound at a time. For a while, the south was all that we heard on our radios and on BET and MTV. Now that the West Coast is back on the scene, it seems that it is a free for all for artists from any part of the country who have their own sound to market themselves to the people who will most like their music, instead of marketing to a just one demographic.
This issue takes a look at a few different artists from different periods in hip hop. We speak with up and comer Big K.R.I.T. who has made a big name for himself on the underground scene through staying TRUE to his sound, his self, and to the often often overlooked Mississippi. We also talk to 8Ball of 8Ball and MJG about where he has been lately and how the game has changed since he first stepped on the scene. We take a look inside Rich Boy’s new project, who is here to show that he is more than just a one hit wonder and lets us know what he has been doing since he threw some D’s on that bitch. We also tickle the mind of David Banner. Who has become an icon within our community for hit club records, political activism within hip hop, a hit making producer, and a mentor among other artists that are up and coming in the hip hop scene. TRUE even stopped through the strip club Diamonds in Atlanta to join Waka Flocka at his album release party. He gave us some insight on things such as how to stay on top of the game once you make it there, and what he struggles with everyday. Even the artists that grabbed a hold of the top but couldn’t hold on should give this issue a second read. Taking a step back and looking at what the south has to offer within the next few months, every artist in this issue is part of the reason why the south deserves their respect.
Editor In Chief
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