Cashville Latino Anthem Makes a Cultural Statement; Dat Boi T Has A "Cracc Flow"

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Whether they know it or not, the recently released "Cashville Latino Anthem" music video by the Seis Uno Cinco, ten Latino hip-hop artists out of Nashville (yeah, we said Nashville), could make a bigger statement outside the 615 area code, than the self-proclaimed impact of a "movement that is bound to shake the city." If you're in tune to population shifts in America, then you know Nashville has been flocked with Latino immigrant families in the last decade, who skipped traditional Hispanic dwellings in California and Texas for the lure of low-cost living and, at one time, a rise in construction that mandated cheap labor, ripe for what the blue-collar Latino immigrant could offer. Pockets of Nashville today look no different than parts of Southeast or Northside Houston, where taquerias and mercados line the strips of the city and where you may never have to speak a lick of English to get by. It's their piece of Mexico or Latin America transplanted into the heart of country music, of all places.

The offspring of these families aren't anything like you might expect. They've been influenced by hip-hop and they aren't anything close to a product of their family's home country - physically - but they are proud of their heritage. In fact, that's how lots of Latino youth live today, straddling a bi-cultural upbringing where they love their hip-hop as much as where they or their family come from. Take note, America. This isn't your daddy's Latino community.

Rocks Off gives props to Rico Marquina, Latino Saint, Gemini Twinz, Stone, IV, Likwid, Enigma and Capo for holding it down for Latino hip-hop in Music, City USA.

Houston's Screwed Up Essay, Dat Boi T, sent us a video of a hit from his mixtape What's Really Good 3.0, featuring a throwed beat, some weed, some syrup, and a gun. Check it out and follow Dat Boi T on MySpace and Twitter.

Rolando Rodriguez is the managing editor of www.redbrownandblue.com. Follow him on MySpace and Twitter.

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