The exact definition of the word “Crunk” is still debated as are its exact origins. A popular and casual definition in music circles is however “crazy and drunk” (Adaso, 2012). The style of music became popular in the mid 1990s and took over from the rap culture that was getting prevalent at that time as signified by the south of the United States. In the 1900’s Rap and Hip Hop culture that predominantly developed in neighbourhoods of Atlanta, Tennessee, New Orleans, Miami and Houston expanded beyond its spatial and cultural origins and took on a very different, bold and almost sinister approach to music. Music had become the instrument for expression of anger, rage and a whole lot of other extreme emotions equally supported by imagery. It was also the time of popularity of club music supported by free flow of alcohol, drugs and bar fights. Hence the name and the definition seem apt.
Crunk music is characterized by heavy beats and high-pitched voices with very little lyrical significance thus differing from rap in its nuances and purpose. Matt Miller describes Crunk as "embodied rap grotesque"—faces twisted into grimaces, bodies contorted or distorted, teeth fashioned into over-the-top "grills." (2008)
As mentioned before there is no evidence to the actual origins of Crunk music or any conclusive evidence of who adapted to that style first. It is believed that Outkast was instrumental in bringing the term into mainstream music while Li’l Jon made it a popular form of music. We can understand the style range of Crunk music and the differences between Crunk music and other types by listening to Li’l Jon, David Banner and Missy Elliot. Although the three artists vary in their renditions of the style, we can see the evolution of the style with its eclectic mix of hardcore Rap; Gangsta Rap; Rhythm and Blues and its almost becoming synonymous with pop culture as in the case of Missy Elliot. Crunk music has thus since the 1990’s to early 2000’s brought Crunk music and southern artists to the world stage of music. It also served to change the spatial dominance of rap music and expanded its reach and popularity beyond the places of its origins.
"Music does not then simply provide a marker in a prestructured social space, but the means by which this space can be transformed." (qtd. by Miller, 2008)
Works Cited
Henry Adaso. “Crunk”. About.com Guide. 2012. April 18, 2012.
http://rap.about.com/od/genresstyles/p/Crunk.htm
Kelefa Sanneh. Music; Lil Jon Crunks Up The Volume. November 28, 2000
http://query.nytimes.com/gst/fullpage.html?res=9C07E7D7143EF93BA15752C1A
9629C8B63&pagewanted=all
Matt Miller. "Dirty Decade: Rap Music and the U.S. South, 1997-2007". Southern Spaces. 10
June 2008. April 19, 2012. http://southernspaces.org/2008/dirty-decade-rap-music-and-us-
south-1997%E2%80%932007
