Luniz Lunitik Muzik Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Luniz Lunitik Muzik mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Lunitik Muzik Released: 1997 Style: Thug Rap, Gangsta, Electro MP3 version RAR size: 1899 mb FLAC version RAR size: 1325 mb WMA version RAR size: 1268 mb Rating: 4.2 Votes: 731 Other Formats: FLAC AA DXD AU WMA MP4 APE Tracklist Hide Credits Intro 1 1:24 Voice – DJ Thump, Mengesha Highest Niggaz In The Industry 2 4:54 Featuring – B-Legit, E-40 Funkin Over Nuthin' 3 5:33 Featuring – Harm , Too Short In My Nature 4 5:25 Featuring – Eightball & MJG*Producer – Smoke One Productions Jus Mee & U 5 4:54 Co-producer – DJ Quik, G-OneProducer – Raphael Saadiq Game 6 1:17 Voice – T. K. Kirkland 7 My Baby Mamma 4:13 Is It Kool 8 4:35 Vocals – MoKenStef $ad Millionaire 9 4:43 Featuring – Brownstone Killaz On The Payroll 10 6:03 Featuring – Madd Maxx*, Phats Bossilini*, Poppa LQ Phillies 11 4:40 Featuring – Poppa LQ Mobb Sh.. 12 5:13 Featuring – 3X Krazy, Cydal, Swoop G Y Do Thugz Die 13 4:55 Producer – QD IIIVocals – Val Young Hypnotize 14 5:15 Featuring – RedmanProducer – Redman 15 Handcuff Your Hoes 3:21 20 Bluntz A Day (Incl. Hidden Track 11 O ´Clock News) 16 7:36 Featuring – Christion*, The 2 Live Crew Credits Executive-Producer – Chris Hicks , Eric L. Brooks Producer – Bosko (tracks: 8, 11, 12), Mike Dean (tracks: 2, 3, 10, 15, 16), Tone Capone (tracks: 2, 3, 7, 9, 10, 15, 16) Other versions Category Artist Title (Format) Label Category Country Year Noo Trybe Records, 7243 8 44966 2 3, Lunitik Muzik C-Note Records, 7243 8 44966 2 3, Luniz UK 1997 CDVUS 136 (CD, Album) Noo Trybe Records, CDVUS 136 C-Note Records 7243 8 44966 4 7, Lunitik Muzik C-Note Records, 7243 8 44966 4 7, Luniz Poland 1997 VUSMC 136 (Cass, Album) Virgin VUSMC 136 Lunitik Muzik 7243 8 44966 4 7 Luniz C-Note Records 7243 8 44966 4 7 US 1997 (Cass, Album) Noo Trybe Records, 7243 8 44966 2 3, Lunitik Muzik 7243 8 44966 2 3, Luniz C-Note Records, Europe 1997 CDVUS 136 (CD, Album) CDVUS 136 Virgin Noo Trybe Records, 7243 8 44966 2 3, Lunitik Muzik 7243 8 44966 2 3, Luniz C-Note Records, Italy 1997 CDVUS 136 (CD, Album) CDVUS 136 Virgin Related Music albums to Lunitik Muzik by Luniz Unknown Artist Vs. Notorious B.I.G. - Big Poppa Trend, The - Poppa Was A Music Man / Home Cookin' DMX / Three 6 Mafia Featuring Young Buck, Eightball & M.J.G. - Pump Ya Fist / Stay Fly Raphael Saadiq - Ray Ray (Album Sampler) The Regime - All Out War Volume I Various - International Blunt Funk Compilation Betrayl - The Life N Death Of My Hood Various - Tuner Maxx V4: Twin Turbo Bass.

Copy Link

Recommended publications

ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
[Show full text]
Obscenity Law and Sexually Explicit Rap Music: Understanding the Effects of Sex, Attitudes, and Beliefs
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/248925838 Obscenity law and sexually explicit rap music: Understanding the effects of sex, attitudes, and beliefs Article in Journal of Applied Communication Research · August 1997 DOI: 10.1080/00909889709365477 CITATIONS READS 27 547 2 authors: Travis Dixon Daniel Linz University of Illinois, Urbana-Champaign University of California, Santa Barbara 32 PUBLICATIONS 1,503 CITATIONS 82 PUBLICATIONS 3,612 CITATIONS SEE PROFILE SEE PROFILE All content following this page was uploaded by Daniel Linz on 28 January 2014. The user has requested enhancement of the downloaded file. !"#$%&'(#)*+%,&$%-.,/*.&-+-%012%34/#5+'$#(1%.6%7&*#6.'/#&8%9&/(&%:&'0&'&; </2%=>%?&/@&'1%=>AA B))+$$%-+(&#*$2%B))+$$%C+(&#*$2%3$@0$)'#D(#./%/@E0+'%FAGFHIJ=>; K@0*#$"+'%L.@(*+-M+ N/6.'E&%O(-%L+M#$(+'+-%#/%P/M*&/-%&/-%Q&*+$%L+M#$(+'+-%R@E0+'2%A>H=FST%L+M#$(+'+-%.66#)+2%U.'(#E+'%V.@$+8%JHW TA%U.'(#E+'%9('++(8%O./-./%QA!%J?V8%4X ?.@'/&*%.6%BDD*#+-%7.EE@/#)&(#./%L+$+&')" K@0*#)&(#./%-+(&#*$8%#/)*@-#/M%#/$('@)(#./$%6.'%&@(".'$%&/-%$@0$)'#D(#./%#/6.'E&(#./2 "((D2YY,,,Z#/6.'E&,.'*-Z).EY$EDDY(#(*+[)./(+/(\(HAJH>JJAI <0$)+/#(1%*&,%&/-%$+]@&**1%+]D*#)#(%'&D%E@$#)2%4/-+'$(&/-#/M%("+%+66+)($ .6%$+]8%&((#(@-+$8%&/-%0+*#+6$ !'&5#$%OZ%C#]./&^%C&/#+*%_Z%O#/`0 &%C.)(.'&*%)&/-#-&(+%&(%("+%4/#5+'$#(1%.6%7&*#6.'/#&8%9&/(&%:&'0&'&%0%K'.6+$$.'%.6%7.EE@/#)&(#./%&/- C#'+)(.'%.6%("+%O&,%&/-%9.)#+(1%K'.M'&E8%4/#5+'$#(1%.6%7&*#6.'/#&8%9&/(&%:&'0&'& !.%)#(+%("#$%B'(#)*+%C#]./8%!'&5#$%OZ%&/-%O#/`8%C&/#+*%_ZaAFFHb%c<0$)+/#(1%*&,%&/-%$+]@&**1%+]D*#)#(%'&D%E@$#)2 4/-+'$(&/-#/M%("+%+66+)($%.6%$+]8%&((#(@-+$8%&/-%0+*#+6$c8%?.@'/&*%.6%BDD*#+-%7.EE@/#)&(#./%L+$+&')"8%=S2%J8%=AH%d%=TA !.%*#/e%(.%("#$%B'(#)*+2%C<N2%A>ZA>G>Y>>F>FGGFH>FJISTHH 4LO2%"((D2YY-]Z-.#Z.'MYA>ZA>G>Y>>F>FGGFH>FJISTHH PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes.
[Show full text]
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signiﬁers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.
[Show full text]
OH, PRETTY PARODY: CAMPBELL V. ACUFF-ROSE MUSIC, INC
Volume 8, Number 1 Fall 1994 OH, PRETTY PARODY: CAMPBELL v. ACUFF-ROSE MUSIC, INC. Lisa M. Babiskin* INTRODUCTION For the second time ever, the Supreme Court addressed the affirmative defense of fair use to copyright infringement in the context of parody in Campbell v. Acuff-Rose Music, Inc. ~ The unanimous opinion found a parody rap version of Roy Orbison's song "Oh, Pretty Woman" by the group 2 Live Crew could be a fair use within the exceptions to the protections of the Copyright Act of 1976. 2 The fair use defense is an inconsistent and confusing area that has been called "the most trouble- some [issue] in the whole law of copyright. "3 The Campbell decision helps preserve the flexible, case-by-case analysis intended by Congress and recognizes the value of parody both as a form of social criticism and catalyst in literature. The decision affords wide latitude to parodists, emphasizing the irrelevance of the judge's personal view of whether the parody is offensive or distasteful. It is unclear whether future courts will interpret this holding to be limited to fair use of parody in the context of song, or whether they will construe it more broadly to confer substantial freedom to parodists of all media. It is also unclear what effect this decision will have on the music industry's practice of digital sampling. This article will review the historical background of fair use in the context of parody and the case law preceding the Supreme Court's decision. A detailed discussion of the lower courts' decisions will be followed by analysis of the Supreme Court's decision and its implications for the future.
[Show full text]
Campbell V. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)
Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994) Year 1994 Court Supreme Court of the United States Key Plaintiff-respondent, a music publisher and co-owner of the Roy Orbison Facts 1964 rock ballad Oh, Pretty Woman, accused defendants-petitioners, hip-hop group 2 Live Crew, of infringing Orbison’s song by releasing a 1989 parody version titled Pretty Woman. Upholding the lower court, the Sixth Circuit ruled that the parody was not fair use and that its commercial nature rendered it presumptively unfair. It also found that by using the “heart” of the original as the “heart” of the parody, 2 Live Crew took too much, establishing market harm by presumption. Defendants appealed to the U.S. Supreme Court. Issue Whether the lower court erred in ruling that the commercial nature of defendant’s parody of plaintiff’s work rendered the use presumptively unfair. Holding The Court reversed the Sixth Circuit, finding that it had erred in giving dispositive weight to the commercial nature of 2 Live Crew’s parody and in applying an evidentiary presumption that the commercial nature of the parody rendered it unfair. The Court held that the commercial or nonprofit educational purpose of a work is only one element of its purpose and character. Like other uses, parody “has to work its way through the relevant factors, and be judged case by case, in light of the ends of the copyright law.” The Court commented that it is essential for someone doing a parody to be able to quote from existing material and use some of the elements of a prior work to create a new one that comments on the original.
[Show full text]
2 Live Crew and the Miller Obscenity Test;Note Brian O'gallagher
Journal of Legislation Volume 18 | Issue 1 Article 6 1-1-1992 2 Live Crew and Judge Gonzalez Too - 2 Live Crew and the Miller Obscenity Test;Note Brian O'Gallagher David P. Gaertner Follow this and additional works at: http://scholarship.law.nd.edu/jleg Recommended Citation O'Gallagher, Brian and Gaertner, David P. (1992) "2 Live Crew and Judge Gonzalez Too - 2 Live Crew and the Miller Obscenity Test;Note," Journal of Legislation: Vol. 18: Iss. 1, Article 6. Available at: http://scholarship.law.nd.edu/jleg/vol18/iss1/6 This Note is brought to you for free and open access by the Journal of Legislation at NDLScholarship. It has been accepted for inclusion in Journal of Legislation by an authorized administrator of NDLScholarship. For more information, please contact [email protected]. 2 LIVE CREW AND JUDGE GONZALEZ TOO - 2 LIVE CREW AND THE MILLER OBSCENITY TEST Obscenity regulation has become a very emotional and hotly contested issue. During the last two years, anti-obscenity forces have targeted many controversial artistic works. Perhaps the most publicized controversy came in South Florida, centering on "As Nasty As They Wanna Be" (hereinafter "Nasty"), an album by the rap group 2 Live Crew. This note will focus on that controversy and its implications for the obscenity debate in general. Part II of this note discusses the particular facts of the Florida debates and gives some background on the recent efforts made to restrict explicit musical lyrics in the eighties and early nineties. Part III discusses the constitutional implications of regulating lyrics through statute.
[Show full text]
Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage.
[Show full text]
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude.
[Show full text]
Sex, Violence, and Profanity: Rap Music and the First Amendment
Mercer Law Review Volume 44 Number 2 Leads Edition - Making a Case for Article 11 Constitutional Entitlements 3-1993 Sex, Violence, and Profanity: Rap Music and the First Amendment Jon Christopher Wolfe Follow this and additional works at: https://digitalcommons.law.mercer.edu/jour_mlr Part of the First Amendment Commons Recommended Citation Jon Christopher Wolfe, Sex, Violence, and Profanity: Rap Music and the First Amendment, 44 Mercer L. Rev. 667 (1993). This Comment is brought to you for free and open access by the Journals at Mercer Law School Digital Commons. It has been accepted for inclusion in Mercer Law Review by an authorized editor of Mercer Law School Digital Commons. For more information, please contact [email protected]. COMMENT Sex, Violence, and Profanity: Rap Music and the First Amendment Lauded by some and condemned by others, rap music does not want for a divergence of views on its nature, meaning, or message. The deluge of profanity coupled with vivid images and themes of sex and violence have provided fertile ground for discussion of rap's merits. Critics have characterized rap as "ugly macho boasting," "bombastic, self-aggrandiz- ing," and "repulsive."1 Rap artist Ice Cube's Death Certificate album was the subject of a rare editorial comment by Billboard magazine deriding the lyrics as "the rankest sort of racism and hatemongering." Detractors fear that the violently negative messages promote a value system that cel- ebrates the decadence of the street.s Providing support for that view, a federal district court in Florida declared the rap group 2 Live Crew's al- l.
[Show full text]
Luke I Wanna Rock Clean Download
Luke i wanna rock clean download LINK TO DOWNLOAD Download Now on Beatport. Welcome to Beatport. Beatport is the world's largest electronic music store for DJs. View credits, reviews, tracks and shop for the Vinyl release of I Wanna Rock on Discogs. Label: Deep Groove - • Format: Vinyl 12 Luke - I Wanna Rock (, Vinyl) | Discogs. I Wanna Rock This song is by Luke and appears on the album Greatest Hits (). View credits, reviews, tracks and shop for the CD release of I Wanna Rock on Discogs. I Wanna Rock Lyrics: Let me see you pop that thang / Shake that booty do the break / I wanna rock / I wanna rock / I wanna rock / I wanna rock / I wanna rock / I wanna rock / I wan, I wan, I wan / I. Download CCleaner for free. Clean your PC of temporary files, tracking cookies and browser junk! Get the latest version here. i wanna rock Addeddate Audio_type Music Identifier TwistedSisterIWannaRock_1 Is_clip false Mature_content false Other_copyright_holders false. 8, Views. 1 Favorite. DOWNLOAD OPTIONS download 1 file. ITEM TILE download. download 1 file. OGG VORBIS download. download 1 file. TORRENT download. download 1 file. Description. Luke – I Wanna Rock (Acapella) is available for download to music producers & audio engineers, the acapella was added on October 8th, renuzap.podarokideal.ru is the worlds fastest growing acapella website, our aim is to collect widely available acapellas and bring them all to one place. Create & stream a free custom radio station based on the song I Wanna Rock by Luke on iHeartRadio! Luther Roderick Campbell (born December 22, ), also known as Luke Skyywalker, Uncle Luke and simply Luke, is an American rapper, promoter, record executive, and renuzap.podarokideal.ru is best known for being the former leader of rap group 2 Live Crew, and star of his own short-lived show on VH1, Luke's Parental renuzap.podarokideal.ru a result of one of the group's songs, which used a parody of Roy Orbison's "Oh.
[Show full text]
The Effects of Hip-Hop and Rap on Young Women in Academia
The Effects of Hip-Hop and Rap on Young Women in Academia by Sandra C Zichermann A thesis submitted in conformity with the requirements for the degree of Doctor of Education Sociology in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Sandra C Zichermann 2013 The Effects of Hip-Hop and Rap on Young Women in Academia Sandra C Zichermann Doctor of Education Sociology in Education University of Toronto 2013 Abstract This thesis investigates the rise of the cultures and music of hip-hop and rap in the West and its effects on its female listeners and fans, especially those in academia. The thesis consists of two parts. First I conducted a content analysis of 95 lyrics from the book, Hip-Hop & Rap: Complete Lyrics for 175 Songs (Spence, 2003). The songs I analyzed were performed by male artists whose lyrics repeated misogynist and sexist messages. Second, I conducted a focus group with young female university students who self-identify as fans of hip-hop and/or rap music. In consultation with my former thesis supervisor, I selected women enrolled in interdisciplinary programmes focused on gender and race because they are equipped with an academic understanding of the potential damage or negative effects of anti-female or negative political messaging in popular music. My study suggests that the impact of hip-hop and rap music on young women is both positive and negative, creating an overarching feeling of complexity for some young female listeners who enjoy music that is infused with some lyrical messages they revile.
[Show full text]
"Uncle Luke" Campbell Is the "I Am Hip Hop" Award Recipient
September 28, 2017 305's Very Own and Hip Hop Pioneer Luther "Uncle Luke" Campbell is the "I Am Hip Hop" Award Recipient Highly Anticipated Billboard's Hot 100 #1 Female Rapper Cardi B Confirmed to Perform ------ Also Hitting the Stage with Unforgettable Performances: DJ Khaled, Migos, Yo Gotti, Rick Ross, Trina, Trick Daddy, Flo Rida, T-Pain, Playboi Carti, Plies and Many More ------ The BET "HIP HOP AWARDS" 2017 is Hosted by DJ Khaled and Will Be Taping in Miami, FL on Friday, October 6, 2017 at The Fillmore Miami Beach at Jackie Gleason Theater and Premiering on Tuesday, October 10, 2017 at 8PM ET/PT ------ #HIPHOPAWARDS NEW YORK--(BUSINESS WIRE)-- The BET "HIP HOP AWARDS" has remained the most prominent hip hop showcase on television for ten years with its powerful performances, iconic hip hop honorees and much-anticipated cyphers. Multi- platinum artist, mega-producer and ‘Anthem King' DJ Khaled will take the reins as host of the BET "HIP HOP AWARDS" 2017. The "I Am Hip Hop" Award returns to honor hip hop pioneer and legend Luther "Uncle Luke" Campbell. Luther "Uncle Luke" Campbell is a businessman, community activist, author, television personality, radio host, artist and most importantly the first Southern rapper to appear on Billboard's Pop charts. In addition, he was the first Southern rapper to start an independent rap record label, Luke Records. Known as the "Godfather of Southern Hip Hop," Luther Campbell was the first in the music industry to provide "parental advisory" stickers on product responsibly ensuring his music was only bought by those of a certain age.
[Show full text]