I grew up in the burbs. Whitey, I bought into the 90's stuff and gangsta rap. But I was educated enough to get the real message- get the degree move on to being a provider legally. Unfortunately, the message is easily lost to many an ear. I think that element is really hurting many areas of the world that were poor yet peaceful.Want a real rap formula? Chase the money, make the money know you are there. Rap like two live did. Everybody can relate to sex. It sure beats violence. Party music indeed, frat party approved---good as gold. Anymore, beats are more important than what is said, because the story was the same in the previous song. Rap is like sports, few will make it big, if at all. The rest better have a backup plan.As far as recognizing the south? Who cares? Things get validated when you look back into the past and still accept the music as pertinent and good.

of everyone talking about how great the south is and how it's finally got a chance to shine. smh. total waste of time. next!

As a documentary its pretty crappy, just soundbites from randoms glued together with the same graphic bump and lame map animations. No interviews really, except for Willie D and Luke. Couldn't even get Outkast, Timbaland or Master P for it. So, as a result, a bunch of nobodies, wannabees and usedtobees (including a cameo from token Mexican Chingo Bling) talk about their take on what southern hip hop is. Basically here it is: "southern hip hop is here to stay, it's our time now, it ain't going nowhere. Fuc* all the coasteses!!!"If you wanna know what "Southern Hip Hop" is just fast forward to the section on music in the strip clubs towards the end. That's southern hip hop - stripper music! The "artists" make it sound like they are re-inventing music altogether, or even furthering black civil rights (clips of Black Panthers - really?!?). C'mon now everyone, it's just sex, money and murder - that always sells, especially to white kids in the 'burbs. That's why "southern hip hop" is on top of the charts. And that's why it has its own fake documentary on Hulu.Interesting to hear about the history of screw and crunk, and its parallels to dub and dancehall, should have been more of that in the beginning. A few jems of knowledge but for the most part pretty worthless, and pretty laughable. I actually would like to see this 5 years from now, and laugh at how all these fake CEOs and rappers thought their sh!t doesn't stink and how crunk is always gonna be on top of the charts. I'm sure a lot of jazz, soul and other hip hop artists thought the same. Where are they now??

This film was so "cookie cutter". It only pretends to give props to southern hip hop.....go back to the drawing board New Flavors.

The production value with the transitions, and some of the artists could have been left out. I think it was a tragedy to interview some of the DJ's they interviewed and not take it further back. You can't talk about Southern Hip Hop and not take it back to the late 70's and 80's and build from there. To talk so heavily about music from the mid-90's on is to pretend like we don't have own pioneers, like this was new. That's BS.

I felt this documentary could have been better and ultimately, I was disappointed. Some of the relevant content is there but the production value is poor and really prevents this documentary from becoming a comprehensive look at Southern Hip Hop. As a viewer, I was more annoyed than entertained by the many quick cuts to soundbites instead of hearing the context of each statement. I would have liked to hear more from Luther Campbell and artists from the older generation. I would have liked to see the influence of Southern Hip Hop instead of just its prominence. I would have liked to hear more perspective on Southern Hip Hop from those in New York and Los Angeles that receive much of the ire delivered by the interviewees. Instead, the deluge of redundant self-aggrandizing testimonials makes me wonder if better material was left on the cutting-room floor. I found the most fascinating information coming from snippets about independent music distribution and marketing which this documentary could have explored more thoroughly. On a purely production note, the frequent use of the "New Flavors" title card was obnoxious and prompted me to wonder if the material was originally presented in smaller sections and compiled into a longer form documentary. If so, the its extraneous use should have been edited out. I want to like this documentary. I would like to see more documentaries about Southern Hip Hop but this film isn't without its value. Again, it could have been good. Good information is there but it simply could have been presented in a more coherent manner. Just my opinion. My hope is that this film inspires others to explore Southern Hip Hop, discover its music and recognize its place in musical history and its influence on American, as well as international, pop culture.