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Dirty Decade: Rap Music and the US South, – | Southern Spaces
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. Campbell, Luther and John R. B's "Bottle Action" declare that women who attend clubs in expensive or fashionable clothes are nonetheless prepared for interpersonal violence, usually against challengers of their own gender. This is followed by a discussion of "crunk," which, like Dirty South, is a contested and problematic intersection of musical style and geographically keyed identities. His rapid-fire, animated lyrical style helped convince the established independent label Jive to sign him in
In a prelude to the expansive years, the early s saw a number of national chart-climbing, "one-hit-wonder" releases from Atlanta-based or -connected artists, including D-Roc's "Bankhead Bounce" and Duice's "Dazzey Duks. For some, the rebel flag is so toxic that no amount of symbolic destruction can justify its use. When crisis erupts, when change grapples towards history, it is configured via appalling body images as something excessive, as monstrosity. Citing the "fun factor" and the way that the "communal spirit of the artists and their music resonates with the masses," editor Kim Osorio enthused, "whether it's a packed club or a backyard BBQ, there's a whole other world of hip-hop down in the Dirty Dirty. Recommended Resources. Photograph by Matt Miller,