In the early 1990s, Miami enjoyed a brief moment in the semi-tropical sun as its early start in the rap genre placed it at the head of a group of southern scenes moving towards an intersection with mainstream markets and audiences. 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. 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. His rapid-fire, animated lyrical style helped convince the established independent label Jive to sign him in 1995. Recording sessions took place at Jus Fresh Recording Studio in Houston. Finally, I move to a discussion of the visual culture of the Dirty South, ways in which the use of imagery has critiqued, promoted, and problematized the idea of the South and its rap music culture. "55Alex Markels, "Protesters Carry the Fight to Executives' Homes." and O.C. 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. 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. "All of it," says Pitbull, "is African-based. . Suave House Records, also known as The Legendary Suave House, is a record label in Houston, Texas, United States, founded by Tony Draper. (Accessed electronically through Google Advanced Group Search on February 2, 2006. Despite Lil Jon's breakthrough to pop success with the production of R&B singer Usher's song "Yeah!" The first commercial attempts to produce recordings of this local style came in the mid-1980s. It was released on September 19, 2000 through Rap-A-Lot Records. Solo Star is the debut studio album by American singer Solange, released by Columbia Records and Music World on December 26, 2002 in Japan and January 21, 2003 in the United States. That is, it becomes the stuff of rebellion, the foundation for play, the ground of racial protest and gender unrest, as well as the earthy basis for children's delight in sullying grown-up categories." Sample from Underground Kingz, "Front, Back & Side-to-Side," Jive Records, 1994. OutKast became the standard bearers of southern rap, but they were initially chosen to record by their producer Rico Wade because of their ability to render complex and non-repetitive raps ("no hooks"). Sample from Kingpin Skinny Pimp, "Where Ya From?," Basix Records, 2000. His 1995 compilation Down South Hustlers: Bouncing and Swingin' (the first double rap CD) featured a host of prominent local New Orleans artists, but by the late 1990s his roster had narrowed to a few members of his immediate family and the fading star Snoop Dogg. . Place-based affiliations can elevate an artist's status. 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 Furthermore, they adapted to every specific customer demand, observing how the diverse labels appeal to each kind of customer. The passage of "Dirty South" from the specific context in which it emerged to a wider, popular culture resulted in a significant diminution of nuance in the discourse surrounding it. The cover image seems the worst nightmare of a white supremacist, a demonic, superpowered black man appropriating, occupying, and defiling the treasured symbol of Dixie. The label's first release under the partnership was an Eightball & MJG Greatest Hits album titled We Are the South. Artists and producers, as well as national audiences, often did the same. tippy('#footnote_plugin_tooltip_1518_1_108', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_108').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Like many erotically themed songs within the African American popular music tradition, "Laffy Taffy" is constructed with layers of meaning which allow for children to enjoy the participatory, sing-along nature of the song, while allowing adults access to a raunchier realm of meaning contained within the lyrics. 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). . So, declaring that there is no recipe for any kind of woman. Freedom Du Lac, "From Memphis, Cranking Up the Crunk; Rap's Red Carpet Rolls Out for Al Kapone," Washington Post, sec. G. Koch, "New Rap for Nick Travers; Glitzy, Druggy Milieu Works," Houston Chronicle, May 2, 2004; Collette Bancroft, "Twenty-One Hours to Live." The consent submitted will only be used for data processing originating from this website. "121Patricia Yaeger, Dirt and Desire: Reconstructing Southern Womens Writing, 1930-1990 (Chicago: University of Chicago Press, 2000), xiii, 7. tippy('#footnote_plugin_tooltip_1518_1_121', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_121').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); A representation of crisis underlies crunk monstrosity, a struggle to express the paradox of change and stasis, of persistent structural racism and inequality, that situates black life in the United States. "25Forman, The 'Hood Comes First, 330. tippy('#footnote_plugin_tooltip_1518_1_25', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_25').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The group that rose to prominence in the early 1990s was the most recent of several attempts by Smith to put together a "Ghetto" or "Geto" Boys. 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." . Rap scenes, styles, and local industries coalesced in Atlanta, Houston, Memphis, New Orleans, Miami, and Virginia Beach. Of course, they are spread all around Milan as well, which makes sure that you wont miss any. . Exquisite leather accessories, suitcases, handbags, sunglasses, and amazing clothing lines made by sensational materials made them become a leading force in fashion. 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. 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. . 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. . "48Carlton Wade, "Three 6 Mafia: Mark of the Beats," The Source 168 (September 2003): 166. tippy('#footnote_plugin_tooltip_1518_1_48', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_48').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); While Juicy J's comments call into question some of the glib assertions about the South made earlier in the issue, The Source's article on Three 6 Mafia reveals the persistance of another kind of place-based essentialism related to an organic paradigm of reflection with regard to the relationship of music and place. . DeNora, Tia. The world of adult entertainment in the city and the emergent rap scene were highly intertwined, as shown in the film Dirty South (1996). While relatively vague and mutable, the conventions of West Coast 'gangsta' rap which included particular musical, thematic, visual, and lyrical markers were perceived to be distinctive despite significant areas of overlap with other rap music.7Cheryl Keyes, Rap Music and Street Consciousness (Urbana: University of Illinois Press, 2002), 5; Adam Krims, Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2000), 74-75, 77-78. tippy('#footnote_plugin_tooltip_1518_1_7', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_7').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The emergence of "authentic" rap from the West Coast in the form of acts like N.W.A. The rap scene in Memphis developed gradually over the late 1980s and early 1990s. It is Milans fashion brand starring vintage vibes. . "51Mary Colurso, "On Sellouts, Superstars, and Other Stuff," Birmingham News, December 22, 2000. tippy('#footnote_plugin_tooltip_1518_1_51', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_51').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); This provocative and ironic juxtaposition of two disparate ways of rural, southern life which turn on the urban connotations of the word "slum" illustrates the complexity and instability of the Dirty concept. As Atlanta-based journalist Roni Sarig notes, while the Fifth Ward was one of the city's oldest black neighborhoods, it was in South Park, a newer black neighborhood that "encompasses both hard-core slums and middle-class streets" that some of the city's earliest rap music emerged.22Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007). We hope you liked our selection, and see you in Milan, brands crawling! Along with Lil Flip, who "got his start rhyming on DJ Screw's tapes," these artists represent the vanguard in a scene that has managed to retain its prominence in southern rap even as Memphis, New Orleans, and Miami have slowed considerably since the Dirty South heyday of the late 1990s.32Kelefa Sanneh, "The Woozy, Syrupy Sound of Codeine Rap," New York Times, sec. 8Ball & MJG were the label's flagship. For instance, Jason Berry asserts, "popular music . With Tennessee bordering nine different states, it is an ideal distribution center for all things corporate and criminal . This dirtiness can exist across the South with local variants. All rights reserved, 1. Rap music culture and practice grew in New Orleans throughout the decade of the 1980s thanks to the efforts of DJ groups like Denny Dee's New York Incorporated and the Brown Clowns. tippy('#footnote_plugin_tooltip_1518_1_24', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_24').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The notoriety gained by these events no doubt helped propel their next album 1991's We Can't Be Stopped, distributed by California-based independent Priority Records to national prominence, cementing Rap-A-Lot's (and by extension, Houston's) reputation as "a central entity in the southern rap scene, . Grem, Darren E. "'The South Got Something to Say': Atlanta's Dirty South and the Southernization of Hip-Hop America." Money, Power & Respect is the debut album by hip hop group The Lox. "82Jones, "Get Crunk Huh!" "88Jon Caramanica, "Lil Jon and the East Side Boyz," Rolling Stone 931 (September 18, 2003): 34. tippy('#footnote_plugin_tooltip_1518_1_88', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_88').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); In addition to conjuring collectively embodied aggression and release, punk and crunk share a connection (real or imagined) with urban working-class culture.89Jones, "Get Crunk Huh!" An underexposed track from OutKast's debut album showcases sophisticated rap skills and forward-thinking production work. Sample from D4L, "Laffy Taffy," Asylum Records, 2005. This metaregional division was used to categorize artists, companies, and audiences and was soon imbued by audiences, critics, and music industry personnel with an understanding of basic differences in style and viewpoint which characterized each contingent. 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. They had shared a really close relationship, helping them conquer the luxury fashion industry with chic, innovative designs through the best quality manufacturers. Moreover, he strived big by designing glorious, opulent, and timeless clothing pieces for every person who wanted to feel a glamour touch, marked by the tag Made in Italy. 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. tempos, with vocal performances that were heavily rooted in call-and-response and relied upon short, repeated phrases rather than extended narrative raps.18J-Mill [Jeremy Miller], "Prince Raheem," The Source 54, (March, 1994): 22 ; Idem, "Bass Game: Clay D Returns to His Roots on His Latest Bass Odyssey," The Source 54, (March 1994): 32-33. tippy('#footnote_plugin_tooltip_1518_1_18', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_18').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); As in other diasporic forms like dancehall reggae, "vocal and musical quality [were] as important to listeners as [was] the strictly lexical register" when it came to Miami Bass, and the rapidly-diffusing genre introduced a number of innovative and exciting developments.19Norman C. Stolzoff, Wake the Town & Tell the People: Dancehall Culture in Jamaica (Durham: Duke University Press, 2000), 19. tippy('#footnote_plugin_tooltip_1518_1_19', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_19').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The sonic qualities of many of these recordings were reminiscent of the 'electro' style that had briefly flourished in New York around 1982, when artists like Mantronix and Afrika Bambaattaa used futuristic themes and imagery to complement sounds generated with drum machines, sequencers, and synthesizers, drawing heavily upon the work of the German group Kraftwerk. tippy('#footnote_plugin_tooltip_1518_1_34', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_34').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); Releases by artists such as SMK, Romeo, and Gangsta Pat (who soon became the first Memphis-based artist to secure a deal with a major label) were spawned from this trend, which kicked off a decade of significant Memphis scene development. Discover what's missing in your discography and shop for Suave House, Inc. releases. The label was founded in 1990 when Draper was sixteen years old. his gold teeth] grit and Bone Crusher's girth quakes the ground as the threads of intolerance are lacerated. In 1995, a post on the newsgroup rec.music.hip-hop defined crunk as "hype, phat," while another poster pointed out in 1998, "krunk is pretty much the past tense of crank. While some crunk lyrics fantasize violence for mass consumption, I argue that, in addition, they relate to recent African American youth subcultural practices in the form of the nightclub experience as a central site for collective expression. Scrobbling is when Last.fm tracks the music you listen to and automatically adds it to your music profile. Giorgio Armani Contemporary fashion brand from Milan, 8. Sample from MC T. Tucker & DJ Irv, "Where Dey At," Charlot Records, 1991. Screw's music turned out to be the perfect soundtrack for another emerging local scene, based around the consumption of narcotic cough syrup (called 'syrup' or 'lean'). Sample from 2 Life Crew, "Ghetto Bass," Luke Skywalker Records, 1986. 4. damaged, incomplete, or extravagant characters." The 2004 song ''Still Tippin','' by Mike Jones with Slim Thug and Paul Wall, featured elements drawn from or insired by the screw style and represented a breakthrough for national awareness of the Houston subgenre. However, the year after Riley's visit, the event spiraled out of control, as the fragile relationship between local authorities and an estimated 100,000 partiers descended into rioting and looting, followed by numerous arrests, events which effectively signaled the end of the annual gathering. . 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. With working-class black culture more central than ever to the national entertainment industry, the Dirty South also became a point of pride for many hip white southerners, and something to be emulated for aspiring rappers from outside the South. Beats and basslines are augmented by minimalist synthesizer riffs. While some artists and producers have returned, New Orleans rap may never re-establish the pre-Katrina level of neighborhood participation and enthusiastic popularity. 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. Discover. "There's no need for studio gangstas and desk thugs. 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 . Timbaland showcases his laid-back rap style and layered, eclectic production on this track. Introduced in a 1995 song by the Atlanta-based group Goodie Mob, the idea of the "Dirty South" spread quickly throughout the rap music subculture and industry, and by the early years of the twenty-first century moved into more general usage in a variety of contexts not directly related to rap. In this sense, the majors chose an overly cautious course that resulted in a diminished share of the potential profits. the extreme local. "Dirty South" is also used as a geographical referent, "a term for the South minus any states whose Southern character is debatable." Sample from DJ Magic Mike, "The Man with the Bass, " Cheetah Records, 1994. They were hip-hop. The album was released on November 1, 1995, by Suave House Records and Relativity Records. 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. What is clear is that the considerable influence of West Coast-based gangsta rap along the lines of musical style, lyrical content/, and imagery was paired with a general movement in rap towards an emphasis on "regional affiliations as well as . 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. The album was met with some success on the Billboard charts, peaking at number 63 on the Billboard 200 and number 8 on the Top R&B/Hip-Hop Albums. Before he joined the Ying Yang Twins, D-Roc brought the rap spotlight to an Atlanta neighborhood with his catchy song and accompanying dance. The CD cover of his album Put Yo Hood Up (2001) shows Lil Jon clad in a pair of black rubber coveralls, his open-mouthed expression of rage and intensity augmented by the added effect of gold teeth, sunglasses, and long dreadlocks, creating a general impression of a demented slaughterhouse worker or other grotesque. Is currently still a family business after so many years of evolution, bringing a new young-like casual approach, perfect for their light materials to every new product, while promoting everything through its ad campaigns, bringing creativity, manufacture, and technology altogether. . "handclapping games, cheers, and double-dutch") represents one of the earliest formations of a black popular music culture. However, not all of those who appropriated the rebel flag for use in hip-hop culture are so unequivocal in condemnation. Sample from DJ Kizzy Rock featuring DJ Smurf, "Crank this Shit Up," Ichiban Records, 1996. Rap Music and the Poetics of Identity. 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. In L.A., African Americans, some with roots in southern states like Texas, Louisiana, Oklahoma, and Arkansas engaged with Southern California Latino youth culture, with its mellow soul music and lowrider cars.12Lawrence B. The imagination of space (and the relative centrality or marginality of particular interpretations of imaginary spaces) lies not at the periphery of larger inequalities of economic, cultural, or political power, but is central and constitutive. . . By September 2003, when The Source was published with two different covers featuring OutKast or Lil Jon & the East Side Boyz, the southern takeover of the rap industry and fan base seemed complete. . 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. The possibility that more than one variant of rap can emerge from the same place at or around the same time is not conducive to a reductive, place-based marketing angle. Changing tastes of national audiences, dynamically related to changing ideas about the relationship of rap to place and to an evolving Southern imaginary, led to increased interest from independent label owners in exploiting local musical subcultures rather than identifying atypical artists or performers whom they could mold to national tastes. Patricia Yaeger's analysis of the role of dirt in southern women's fiction illuminates deeper meanings of "Dirty South." 8Ball & MJG were the label's flagship act, beginning with Comin' Out Hard (1993), the duo's debut album and the label's inaugural release. With platinum sales from 1997 onwards, Missy Elliot became "the biggest female artist in hip-hop history. Statements describing "The Braves ditching the Dirty South for the West," or New Orleans' Hornets "making everything Dirty South comfortable for the visiting [Sacramento] Kings" confirm Lee's conclusion.59Shane Harrison, "Sound Check: Sound Bites," Atlanta Journal-Constitution, sec. That the battles over classification formed around music recalls previous historical moments: "Music, like many other aspects of culture," Michael Haralambos has written, "is associated with particular groups of people," and "distinctions in music in part refer to and are related to distinctions between social groups." 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. The article directly linked these rappers to the historical struggle against white supremacy, evoked by allusion to Richard Wright's novel in the title, "Native Sons": One day before America's 227th birthday three of southern hip-hop's most revered leaders, David Banner, Bone Crusher and Lil Jon, are on location up North, specifically Brooklyn, tearing up the most infamous symbol of the Old South, the Rebel Flag. The Latin style blended with the black, Caribbean rhythm and colors. . "Sunday Showcase," August 22, 2004. tippy('#footnote_plugin_tooltip_1518_1_66', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_66').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The crunk concept was born in the late 1980s and early 1990s in nightclubs in southern cities like Memphis and Atlanta, as DJs, producers and artists strove to produce the kind of music appropriate to a rowdy, collective, and embodied experience. 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. "122Tara McPherson, Reconstructing Dixie: Race, Gender, and Nostalgia in the Imagined South (Durham, NC: Duke University Press, 2003), 18. tippy('#footnote_plugin_tooltip_1518_1_122', { content: jQuery('#footnote_plugin_tooltip_text_1518_1_122').html(), placement: 'bottom', theme: 'sosp', arrow: false, allowHTML: true }); The mutability of the Dirty South (and the related phenomenon of crunk) and its widespread appropriation makes it easy to dismiss as a contrived and superficial marketing gimmick, but the Dirty South contested the received southern imaginary and stirred up the business of rap music in ways that had real consequences and which related to larger structuring forces of region, race, and class. The album peaked at number 26 on the Billboard 200 and number 4 on the Top R&B Albums. By the late 2000s, several Miami rappers, including Trick Daddy, Trina, and Rick Ross, had broken through to national markets, and the Slip N Slide label (distributed by Atlantic Records) established itself as one of several important independent labels in the Southeast. Therefore, the symbol of the Milan fashion brand is rainbow hearts. Production was handled by Smoke One Productions, E-A-Ski & CMT, with Tony Draper serving as executive producer. Members of the label's roster continued to defect, however, until Lil' Wayne represented the only Cash Money artist receiving national attention. . The album peaked at number 29 on the Billboard 200 and number 5 on the Top R&B/Hip-Hop Albums chart. It features guest appearances from Canibus, Cardan, Chico DeBarge, Erykah Badu, MJG, Psycho Drama and the Lost Boyz. 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. Imagined in a different way, the economic, material, and cultural resources of the South, once reserved for an entrenched white elite, open to the possibility of other claimants. "9Ibid., xvii. First and foremost, the city must produce rap music which is of interest to outside audiences. The album peaked at number 64 on the Billboard 200 and at number 13 on the Top R&B/Hip-Hop Albums chart in the United States.
Bromsgrove School Scandal,
Cbx Parking Rates Long Term,
Richwood, Ohio Obituaries,
Memphis Gators Prep Football Division,
Aviator Hockey Coaches,
Articles S
