The 50 Best Hometown Anthems

There's nothing like having a great soundtrack to rep your city.

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Anthems are chosen by the people, not created by the artist. A talented songwriter can put all the necessary pieces in place—the big hook, the power chords, the little touches of detail that grab the attention of those in the know—but unless the people for whom the anthem is directed elect the song, it won't be remembered. We've gathered the 50 Best Hometown Anthems, songs that represent certain cities and, sometimes, states. Some of these are purely jubilant, others tinged with mixed feelings. But all are passionate—that's a requirement. Stand up when we play yours.

By Ross Scarano (@RossScarano)

#50. "Born N Raised"

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Let some natives speak and automatically you've one-upped "Big Willy Style." Cook up a track with a few bars in Spanish from Pitbull, cocaine talk, and more braggadocio than an early Jay-Z cut and you have a definitive anthem. Listennn!

#49. "I Love L.A."

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With tongue affixed firmly to inner cheek, Randy Newman delivers his ode to Los Angeles. "Look at those trees," Newman sings, "Look at that bum over there, man / He's down on his knees." Despite Newman's status as sarcastic singer/songwriter numero uno, Los Angeles embraced his cock-eyed valentine. Just go to a Lakers game for proof; "I Love L.A." will play without fail.

#48. "Brooklyn"

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The story of hometown anthems could be told in terms of East versus West. In Mos Def's heartfelt ode to his borough, he appropriates the melody of the Red Hot Chili Pepper's "Under the Bridge," but he's not dissing L.A. He's far too busy showing Brooklyn love for that. Admittedly, sampling "Under the Bridge" could be corny in some people's hands, but...OK, it's still corny. Heartfelt though!

#47. "Stuck Between Stations"

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The Hold Steady's barroom stomp and Springsteen homages mean that the majority of their songs sound like anthems. But it's the power chords and rollicking piano behind Craig Finn's lyrics about the Golden Gophers and the Mississippi River that make this the true Minneapolis anthem. "Stuck Between Stations" also serves as proof that if the guitars are loud enough, a refrain like "We drink, we dry up, and we crumble into dust" can seem positive.

#46. "Miami"

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Before DJ Khaled, before Pitbull, before Rick Ross, Will Smith made Miami jiggy, and we'll never be able to thank him enough. Unsurprisingly Will keeps it clean here—his Miami doesn't look anything like the coke-n-blood splattered worlds of Tony Montana or Rozay. Instead, "Miami" is like a pretty postcard, shiny and flat, urging you to visit. "I've never seen so many Dominican women with cinnamon tans." Sounds sorta nice.

#45. "New Orleans"

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Puttering sax and handclaps, "New Orleans" demands that you sing and dance along to Bonds' "hey-hey-hey-hey" chrous. He gives the Big Easy one of the nicest compliments you could bestow on a place, singing "if you ain't been to heaven, then you ain't been there." If Katrina couldn't stop N.O., nothing can. And thank heaven for that.

#44. "Swerve"

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In Baton Rouge, Lil Boosie is something of a god among men, blessing the city with his badazz flow. Check any of his YouTube comments. On "Swerve" he and Webbie swap verses about swerving down the streets of BR. If it weren't for Boosie's claim that he did not hit that lady with his car while he's swerving, we'd be a bit nervous about visiting. But it sounds like he's got it under control.

#43. "Surfin' U.S.A."

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This iconic Beach Boys classic borrows heavily from Chuck Berry's "Sweet Little Sixteen," even cribbing the melody wholesale. Of course Berry's song mentions no spots appropriate for surfing, which is practically all the Beach Boys do here. 14 beaches in Cali get shout-outs. Oh, if only we all had oceans for backyards.

#42. "Posse on Broadway"

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Little known facts: Sir Mix-a-Lot kicked off his career repping his hometown of Seattle, not extolling the virtues of large butts. He paints a vivid picture of a city most don't associate with hip-hop, describing everything from a wealthy real estate investor to a Taco Bell. Next time you're trying to impress a girl, mention that you prefer Mix-a-Lot's deep cuts, then invite her to cruise in your "black Benz limo with tha cellular phone." Works every single time.

#41. "Uptown Roamers"

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Musically, D.C. is most closely associated with go-go and hardcore punk (and Mumbo Sauce!), but with each new track, Wale is doing his best to add hip-hop to that list. "Uptown Roamers" is D.C. on wax. Wale shouts out enough streets and neighborhoods that you could draw a decent map before the song's over.

#40. "Long Island Degrees"

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Where's Strong Island at? Drop the needle on this mellow track and you'll find out. One of the finest groups in hip-hop history puts it down for the 516 over a jazzed out Fender Rhodes and flute sample, proving that not every anthem has to be louder than a bomb.

#39. "Memphis"

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In a singular moment for hometown anthems, 8Ball & MJG's "Memphis" uses a chopped and looped clip from "Walking in Memphis" as the basis for the beat, which means that this is a hometown anthem doubled. Whether you most want to bump into the ghost of Elvis or sling rocks in your hood, there's something for everyone here.

#38. "4th of July, Asbury Park (Sandy)"

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While putting this list together, we debated what makes an anthem. If it's just detail, a song's ability to truly evoke a place in the listener's mind, then this early Boss cut might take top billing. You can smell the shitty fried food and sweat, the grease on the pinball machine's worn buttons, with each line of Springsteen's awkwardly-titled valentine to the Jersey shore and Asbury Park. He describes a blissful time before hair gel and fake tans. If only we could go back...

#37. "To Live and Die in L.A.”

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Pac so frequently discussed his own demise, how much he was hated, that it can become an eerie experience listening to his catalog in 2011. Which means the low-key bounce and sunniness of "To Live and Die in L.A." stands out even more. He puts his enormous personality in the background to love the city he adopted as his home. With a sweetly sung chorus and relatively relaxed verses, "To Live and Die in L.A." feels like California sunshine, and for a moment the listener is permitted to bask in it and forget that Tupac Shakur is gone.

#36. "Welcome to New York City"

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Just Blaze could start calling himself Just Anthems and aside from being a bad bit of wordplay, it would be apt. 8.4 million people need an anthem large enough to represent their city. Just Blaze's production is enormous, big pianos, big synths, subatomic bass. "Welcome to New York City" should be required listening when you load up your U-Haul and move to one of the five boroughs.

#35. "415"

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We put it down for the Bay at Complex all the time (check out our list of the best Bay Area tracks and our Oakland Rap Atlas), but Richie Rich, handling all the verses on this 415 cut, has bested us. "415" is one of the songs that put the Bay on the map, proving it was just as viable as Los Angeles. Rich continues to make music, and even though Oakland is now the 510 "415" remains the go-to cut.

#34. "New York State of Mind"

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Rappers tend to narrow their focus when discussing New York. But put a dude in front of a piano, maybe get him just drunk enough to let the nostalgia flow, and he'll hammer out a tune that embraces all the boroughs. Hell, Billy Joel even admits to reading a newspaper that's not the Times. Stuff white people like: all of it.

#33. "Mississippi"

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The strength of this anthem comes from the conflicted feelings Banner has for his home state. He loves the Caddies on vogues, but hates that his "soul still doesn't feel free" in the shadow of a Confederate flag. The best part about Mississippi, though? That it's a state where they're "still eating chicken in the club, bitch." Positivity!

#32. "The Place Where We Dwell"

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Here's a working theory: the Bronx birthed hip-hop but Brooklyn perfected it. The pairing of Guru and DJ Premier is Exhibit A. Over a beat that's little more than trashing cymbals and kicks, Guru gives a BK PSA, shouting out multiple neighborhoods. "Brooklyn's the borough": Simple and true. R.I.P. Guru.

#31. "West Savannah"

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Big Boi on the intro announces that he's gonna tell the listener about "where his roots at," and proceeds to do just that over the southernplayalisticadillacmuzik OutKast perfected on Aquemini. "Sade is in my tapedeck / I'm moving in slow motion, boi": the muted horns and lulling organ sample kept ever so low in the mix move things like molasses. If Savannah were a person, it would be Big Boi, slouched in the front seat of his Caddie, rolling through the West Side.

#30. "Crooklyn"

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A jazzy beat courtesy of Q-Tip provides the backdrop for three of Brooklyn's finest—Masta Ace, Buckshot, and Special Ed—to rep and rhyme. "Crooklyn" was originally recorded for the Spike Lee joint of the same name. Lee's film receives little attention today, but hip-hop heads still spin this record. The Crooklyn Dodgers—a super group we can claim without feeling guilty.

#29. "They Don't Know"

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Some anthems invite the listener to participate in the celebration of the city, while others exclude. "They Don't Know" is one of the latter. Paul Wall, backed by a crew of H-Town veterans, is direct: "you don't know." If you ain't from Houston, you'd best stay quiet during this one. Bun B sounds pissed, and that dude's a giant.

#28. "Deja Vu (Uptown Baby)"

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The stately horn intro before Steely Dan's thick bass busts this track open is charmingly confusing. It doesn't make much sense, sounding more like the announcement of a coronation rather than the opening of an ode to the birthplace of hip-hop. "Deja Vu (Uptown Baby)" is a weird song, a strange amalgamation of seemingly disparate parts that somehow work together, much like the communion of graffiti, turntabalism, breaking, and MCing. Credit the spirit of the Bronx with making this song a lasting anthem.

#27. "Welcome to Atlanta"

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You know who isn't welcome in Atlanta? Elderly white people with fanny packs and tourist maps. Also, cops. If you're just a player playin', though, come through. You can get fucked up any Tuesday with Jermaine and Luda in the velvet room.

#26. "New York, I Love You But You're Bringing Me Down"

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People love to toss the word irony around when describing LCD Soundsystem because that's a fashionable criticism of anything hipsters enjoy. And at first glance, the title of this song sounds like it might be a coy, tongue-in-cheek effort from a band seemingly obsessed with posturing. But calling New York the "one pool where I'd happily drown" is brilliant. This is what love feels like; it's tumultuous and dynamic. It brings you down and lifts you up, just like this incredible anthem.

#25. "Black and Yellow"

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Number of times the word "Pittsburgh" occurs in Black and Yellow: 0. Number of rocks in Wiz's watch's face that prevent him from knowing the correct time: too many to count. In a way, it makes a certain sense that the too-often slept/shit-on city of Pittsburgh would go completely unmentioned in the song that is its anthem. It's like Wiz intentionally leaves out the details of his hometown so that non-natives won't be able to falsely claim knowledge of the place based on a handful of listens. If that's the case, good. Let Pittsburgh be for the Pittsburghers. Everyone else can go back to pretending to be from New York or L.A.

#24. "California Dreamin'"

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Brown leaves, gray skies—mention a little something about dirty snow banks and you've summed up an East Coast winter. The Mamas and the Papas skewered everything outside of the Golden State with their classic song. Diss tracks aren't just aimed at other rappers, you know. Sometimes you've gotta aim bigger, literally gunning for the sky.

#23. "Memphis, Tennessee"

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The protagonist of "Memphis, Tennessee" isn't in Memphis; he just needs to talk to his daughter, Marie. Really though, this song is a showcase for Berry's legendary licks. Rock and roll wouldn't be the same without this giant's influence. This track could be an instrumental named "Memphis, Tennessee" and it would still have been adopted as an an anthem.

#22. "Raise Up"

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If you run into a shirtless somebody who's spinning said shirt above his head in the manner of a helicopter, he's either crazy or from North Carolina. If you rule out crazy, you know that the song playing in his head is "Raise Up." But listen: this rule only applies in 2011. If you applied this rule back in '01 when the song first dropped, you'd have thought everyone had been born in N.C.

#21. "Motor City Is Burning"

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"This is the high society," MC5 frontman Rob Tyner screams at the crowd before launching into the dripping blues of John Lee Hooker's "Motor City Is Burning." It's a moment that makes you pine for a birth certificate issued at some Detroit hospital. Tyner sings about snipers and screams and sirens, and you only want to be amongst the wreckage, watching the city burn. Because you love that place so much the spectacle of fire and violence seems the most fitting tribute. The guitars help, too.

#20. "The Bridge"

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Is there a more classic hip-hop battle than BDP vs. MC Shan? MC Shan wrote history with "The Bridge," claiming Queens as the birthplace of hip-hop. Describing a cypher, Shan rapped, "And if you wasn't from this town / Then you couldn't fight and win." Well, KRS-One just did not agree with that, setting off a battle that produced anthem after anthem.

#19. "Nolia Clap"

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If Lil Wayne could confine himself to one subject matter for longer than a couplet, he might have recorded a Big Easy anthem by now. Instead, the other king of New Orleans, Juvenile, with some help from Wacko and Skip, did the deed by introducing non-natives to the Nolia clap. Here's a song where everyone can pretend to be down: all you have to do is put your hands together.

#18. "Sweet Home Chicago"

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His music sounds like it was recorded with microphones that were actually pine cones, but really it only contributes to the beauty. Who would want to polish the blues? When a man who supposedly sold his soul to the devil for his talents moans about wanting to return to his sweet home Chicago—poof—you have an anthem. We wouldn't be surprised if Chi-town sold its soul to the devil for Robert Johnson.

#17. "Unfair"

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To be fair, "Unfair" isn't the most anthemy song out there (it's missing a repeated chorus, for instance), but what it lacks in anthemyness it more than makes up for with good ol' fashioned slacker vitriol. Pavement had already tossed down the gauntlet for Northern Cali with "Two States" off their debut album Slanted and Enchanted, but they up their northern pride even more here with a pointed critique of all things SoCal, up to and including the most poetic depiction of Western water politics committed to wax ("Man-made deltas and concrete rivers / The South takes what the North delivers"). We'd point out that residents along the Colorado River have an even bigger stake in that fight, but if Colorado, Arizona, Nevada, or even Utah have an iconic indie rock band writing for their chambers of commerce, we haven't heard 'em.

#16. "Oakland"

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Too $hort has always been more of a player than a rapper, and that's not a diss. The man exudes such swag, it would be silly to insist on any other description. "Oakland," with it's slow flow and vocoded back up vocals, is proof. Put it on and you can feel your pulse slip down a few notches, your body adjusting to the smooth Bay Area tempo that $hort ceaselessly hyped.

#15. "Dirty Water"

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With crunchy guitars and rough vocals, garage rock is nasty in the best way possible. Thus it makes sense that garage rock would embrace nasty things, giving us a classic like The Standells' "Dirty Water." Truly embracing a city means that you have to love the garbage and the grime. "Dirty Water" does that beautifully.

#14. "Born and Raised in Compton"

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More than any other MC, Quik repped Compton. He saw Compton everywhere, and on this track he proved that "you have to be stompin' / If you're born and raised in Compton." Over a beat stitched together from Isaac Hayes and Funkadelic samples, Quik defined the Compton aesthetic, leaving plenty wishing they'd been born in that musical Mecca.

#13. "Freedom of '76"

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"Freedom of '76" finds Ween in blue-eyed soul mode as they remind listeners that "Mannequin was filmed at Woolworth's." That's in the song's chorus. A Mannequin reference. The track is all Philly, but it's also all Ween.

#12. "Homecoming"

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Mr. West's "Homecoming" is a love letter, not just to Chicago, but also to Common's "I Used to Love H.E.R." Common finishes his extended metaphor with the line "who I'm talking 'bout is hip-hop." Kanye's just talking about his city.

#11. "Kansas City"

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Is hip-hop songwriting really that far removed from traditional rhythm and blues? In this 1964 cut, Harrison sings about boozing, standing on a corner, and hollering at women. "Kansas City" sounds like one helluva place. Crazy women and wine—sign us up.

#10. "Empire State of Mind"

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Credit the thunderous and ringing piano chords Alicia Keys delivers the sweeping chorus over; credit Jay-Z's shiny verses and dapper "hip-hop Sinatra" status; credit the blunt force of the lyrics; whether you want to single out a specific aspect or simply want to succumb to the whole of "Empire State of Mind," there's no denying its status as the definitive anthem for N.Y.C. And that the home of hip-hop should finally have a hip-hop song as its de facto anthem is only right.

#9. "I'm Shipping Up to Boston"

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For every one person that associates Boston with the brothers Affleck, there are three people for whom Boston means sailors and wooden legs, and it's because of this Dropkick Murphys' brawler. The lyrics are all lost limbs and shouting, but isn't that what Boston's about? Getting drunk and asking angrily how people like apples?

#8. "Walking to New Orleans"

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In 2005, Fats Domino did not leave New Orleans by choice. Though Katrina approached, Domino did not want to leave his sick wife's side, and on September 1, with rumors circling that he was dead, a Coast Guard helicopter rescued him and his wife. Think on this next time you listen to "Walking to New Orleans," a deliberate but unassuming anthem. There's an ease to the way he sings, but know that everything he says he means. He said he was going home to stay...

#7. "Detroit Rock City"

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Maybe you've never listened to Kiss before; you only know about them from parodies and commercials, so you think the leather and hair and face paint is ridiculous, laughable. Then one evening you've got the radio on and a breakneck guitar riff hits your ears. "You gotta lose your mind Detroit Rock City," it sings to you. Could the dudes playing this not be shirtless, sweaty, and in black and white face paint? No, of course not. It's actually perfect.

#6. "California Love"

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It's fun to imagine the recording session for "California Love." There is no doubt that Dre and 2pac knew they had an anthem: picture Dre nodding his head seriously, his hands on the knobs while 'Pac's in the booth grinning, the mic hanging in front of his face. Even a gated golf course community would admit to the magnificence of Dre's piano driven beat, the infectious vocoder chorus, and the charisma in each of 'Pac's words. Some songs lose their force after being overplayed at suburban middle school dances, lame singles mixers, bar mitzvahs, but "California Love" is bulletproof.

#5. "Chocolate City"

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*Homer voice* "Hmmmmmmm, chocolate city..." OK, where were we? Celebrating D.C.'s status as a majority black city, "Chocolate City" is perfect Parliament, uptempo funk with half-sung, half-spoken lyrics. At one point, an imaginary White House staff is described, one where Richard Pryor is Minister of Education. Hide your kids, hide your wife, hide your lighters! We kid. RIP Richard.

#4. "Dirty South"

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Goodie Mob put the phrase "Dirty South" in everyone's ear back in 1995, defining the fierce, stubborn aesthetic of Southern hip-hop. Remember when the ATL wasn't the capital of rap? If you have a Twitter handle, you probably don't, but back then this was something of a regional call to arms. And now white kids in Spokane talk about Supermaning hoes. Goodie Mob to rest of us: You're welcome America!

#3. "New York, New York"

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Songs like this are the reason this list exists at all. Though it sounds timeless, "New York, New York" wasn't written till 1977. The Hoboken native Sinatra wasn't even the first to sing it—Liza Minelli had first dibs. Ol' Blue Eyes owned it, though. Minelli's from California. What chance did she have?

#2. "Sweet Home Alabama"

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The year was 1974 and on wax Skynyrd waged war with Neil Young over depictions of the South (in real life they were pals, no beef here). Written as a response to Young's "Southern Man," "Sweet Home Alabama" became an anthem, not just for 'Bama, but for the entire region. Yeah, this is a song made by a bunch of crackers (that a whole bunch of crackers really, really love), but those white boys had swag to burn. Pretty sure that's the first time Skynyrd's been given that nod, but we're sticking to our guns.

#1. "South Bronx"

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Stakes were high; the record needed to be set straight. MC Shan had claimed Queensbridge as the birthplace of hip-hop, forcing BDP to let everyone know what time it was. Over sharp stabs of squealing brass lifted from James Brown's "Get Up Offa That Thing," KRS-One stepped into his role as teacher for much needed reeducation in the wake of Shan's mistake. Though the feud continued for some time, everyone saw that "South Bronx" effectively ended the debate. Hip-hop started in the Bronx, and if you want to know how, "South Bronx" will explain it.

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