Mala Rodríguez

Spanish rap star Mala Rodríguez increased to fame quickly, dealing with a few of Spain’s best hip-hop producers and earning a lot of attention with her socially minded lyrics and solid femininity. She arose in the fertile hip-hop picture of Seville through the past due ’90s — known after that as La Mala, a sign from the hardcore character of her early function — and she relocated to Madrid once her profession prospects appeared appealing. Her debut record, Lujo Ibérico (2000), released by General, established her instantly as you of Spain’s even more significant rappers. The record included production function by Jota Mayúscula, Supernafamacho, and Dive Dibosso, who are among Spain’s best beat-makers, and spawned the favorite melody “Yo Marco un Minuto,” that was highlighted within the well-known film Lucía y un Sexo (2002). Her notoriety was cemented once the video for “La Niña,” an individual from her second record, Alevosía (2003), was prohibited from Spanish Television due to its depiction of the drug-dealing young gal. With time, Rodríguez lightened up her music relatively and began tinkering with brand-new sounds; nevertheless, she continued to be a powerful rapper and thoughtful lyricist, and with the broadening of her music emerged an increased worldwide appeal. Blessed María Rodríguez Garrido in Jerez de la Frontera, Cádiz, Spain, on Feb 13, 1979, she was raised in Seville and became associated with the city’s flourishing hip-hop picture as an adolescent. In the past due ’90s she increased to prominence alongside fellow Sevillian hip-hop works La Gota Que Colma, SFDK, and La Alta Escuela. After that billed as La Mala, she made an appearance on La Gota Que Colma’s recording Mordiendo un Micro (“No Hay Rebaja,” “Dando Guerra”), released by Zeroporsiento in 1998; SFDK’s Siempre Fuertes (“Una de Piratas”), released by Zona Bruta in 1999; and La Alta Escuela’s En Pie de Vuelo (“Espectáculo en la Gancha”), released by Movement Information in 1999. Especially, she produced her single debut having a Jierro/Toma la Traca, a maxi-single released by Zona Bruta in 1999 (originally prepared for discharge by Zeroporsiento, a Sevillian label that she’d documented the monitors). The next year Rodríguez turned to Yo Gano/Superego, a joint label going by impresario Sergio Aguilar Pereira and located in Madrid, to which she’d transferred at age group 19. Today billing herself as Mala Rodríguez, in early to middle-2000 she released two additional maxi-singles, Yo Marco un Minuto/Tambalea and Tengo el Trato, and made an appearance on observed Spanish hip-hop manufacturer Jota Mayúscula’s record Hombre Negro, Soltero, Busca (“Tirititi Tirititero”). General Music Spain was another label to provide Rodríguez a documenting contract, stunning a cope with Yo Gano/Superego release a her debut full-length record, Lujo Ibérico, in 2000. Featuring creation by Mightúscula, Supernafamacho, and Dive Dibosso, Lujo Ibérico produced a significant splash, offering over 50,000 copies and gaining gold position. “Yo Marco un Minuto” subsequently was highlighted in Lucía con un Sexo, a favorite Spanish film released in 2001 (the soundtrack premiered in 2002 by Hand Images), while “Afila un Colmillo,” a cooperation with Titan, was highlighted over the Y Tu Mamá También (2002) soundtrack. On her behalf second record, Alevosía (2003), Rodríguez collaborated using the same companies from her debut — Mightúscula, Supernafamacho, Dive Dibosso — while over fifty percent the tracks highlighted guests (e.g., Kamikaze, Giggi Mantequilla, Kultama). General also released La Niña/Amor con Respeto (2003), a 13-monitor maxi-single packed with versions from the co-featured music, alongside previously released tracks such as for example “Yo Marco un Minuto” and “Tengo el Trato.” Specifically, “La Niña” triggered a mix; released as an individual, its video was questionable, prohibited from Spanish Television because it presented a drug-dealing youthful girl. Alevosía matched up the achievement of its forerunner, going gold. It might be 3 years before Rodríguez released her following album via Common, Malamarismo (2007), where time she held busy. Collaborations had been numerous, including types with Mightúscula (“Como el Titere,” 2004), R de Rumba (“Fabricante,” 2004), Total Nelson (“La Carta,” 2005), Akon (“Locked Up [Remix],” 2005), Vico C (“Vamonos Po’ Encima,” 2005), Kultama (“Nacional e Importación,” 2006), Antonio Carmona (“Ay de Ti,” 2006), and Calle 13 (“Mala Suerte con un 13,” 2007). In 2006, the Spanish film Yo Soy la Juani presented “Por la Noche,” a fresh Rodríguez solo documenting, made by Supernafamacho. A maxi-single premiered in tandem, including several variations from the song and a music video. Led from the solitary “Nanai,” Malamarismo adopted in 2007, including “Por la Noche” like a reward track. In accordance with past produces, Malamarismo is varied; instead of feature simple hip-hop, the recording finds Rodríguez acquiring some probabilities stylistically, including collaborations with Mexican pop celebrity Julieta Venegas, Puerto Rican reggaetonero Tego Calderón, and Single los Solo maker Griffi, amongst others.