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Old 02-06-2006, 04:44 PM   #16
WallyG
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yea D4L and Dem Franchise Boys r wack....damn atlanta georgia have alot of artist, either good or shit...like they got Outkast, Luda, Field Mobb, then they got them new wack crews...but anyway that Lean Wit It, Rock wit It beat i like tho...but them niggaz r wack...3 six mafia r vets and i like they music...but them southern hiphop will always be around, u got crunk now u got snap music, and i think snap music is just terribaly funny
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Old 02-06-2006, 07:17 PM   #17
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Fucking media is sucking 50/south/crunk dick so hard even though its utter trash (not the dope south shit). It really fucks me off.
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Old 02-06-2006, 09:58 PM   #18
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Quote:
Originally Posted by PuNcH_iN_PuNcH_OuT
Fucking media is sucking 50/south/crunk dick so hard even though its utter trash (not the dope south shit). It really fucks me off.
Lmao for realz
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Old 02-06-2006, 10:33 PM   #19
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the media plays what the people want, and people want crunk. i watched something on TV, and most of the people who play important roles in today's Hiphop, either said they don't like/listen to it, or kinda gave the impression they didn't like it all that much.

some of it like someone else said is good if you just want a lot of bass or at a club blah blah blah.
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Old 02-06-2006, 10:58 PM   #20
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man back in 92 Splack Pack was teh shiiiitt lol but now a days its just gettin old

i just think theyres nothin tight about theyre raps foreal the beats are catchy for a month but after that it sounds the same as everything else so i dunno its nothin strong to me. i could listen to splack pack all day tho or even triple 6 like that cat was sayin before.
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Old 02-10-2006, 09:46 AM   #21
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Not feeling it, therefore, I would pay no attention to it. It's just as simple as that.
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Old 02-16-2006, 12:02 PM   #22
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That *snap and lean then post like u taking a picture* music is just too fruity...shit looks gay, is crunk going homo?...LOL


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Old 02-16-2006, 12:31 PM   #23
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I be getting my excercise on to that shit. all that leaning and rocking...good cardio
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Old 02-16-2006, 07:14 PM   #24
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crunk is staying here forever, that's how we been getting down since the eighties in the south
only thing that is changing is the popularity, and the sound
we still go in the club and mosh, there's more to crunk than Lil' Jon and the Eastside Boys
there are lyrics in crunk too, don't get it twisted. Me and my people are working on some music and it's a crunk mix of lyrics. I'll send ya'll some when we get done with an album issue
the Diplomats are crunk styled also for the northerner only listeners
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Old 02-16-2006, 11:56 PM   #25
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If your shit sounds anything like Jim Jones or any of them Dipset niggas, keep that shit over there. Lyrics and crunk music dont mix that shit is like oil and water, the bass drowns out anything a nigga is saying unless he streaming at the top of his lungs and I know that shit cant be considered lyrical.

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Old 02-17-2006, 05:20 PM   #26
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crunk is the same beat every song that those cunkers realese.....lil jonh tha same fuckin sounds like they fucken sirens and screamin like yyeeaayyyeaaahhh....jajaja come on if they want to progress and keepin doing crunk got to take it to a next level.....but it will sucks either.....my opinion...peace out
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Old 02-17-2006, 05:28 PM   #27
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Quote:
Originally Posted by PuNcH_iN_PuNcH_OuT
Fucking media is sucking 50/south/crunk dick so hard even though its utter trash (not the dope south shit). It really fucks me off.
Word, fuck Crunk music...
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Old 02-17-2006, 06:51 PM   #28
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this must be the price for rap being mainstream
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Old 02-17-2006, 06:55 PM   #29
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there isn't a lot of bass in every crunk song. the snares get it crunk. the lyrics get you buck. you should listen to a cd Jadakiss is on a few crunk ass songs with Lil' Jon. don't sleep on it. it ain't always yelling either. the beats are varied like hell, ya'll are just being close minded.
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Old 02-17-2006, 07:03 PM   #30
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Reason for this wack Crunk shit getting all the play on the radio and shit is right here:
By BRIAN ROSS and VIC WALTER

Feb. 16, 2006 — The ride to the top of the charts was an American dream come true for drummer Jake Slichter, of the Minneapolis band Semisonic. The band's song "Closing Time" became the No. 1 tune in the country in 1998.

"We had always been like the little unknown band with songs very few people knew," Slichter told ABC News' Brian Ross.

"I remember the first time we played 'Closing Time' when it was a No. 1 hit," Slichter said as he recalled a concert at RFK Stadium in Washington, D.C.

"The song sort of starts quietly, and you could feel this sort of peel of screams kind of go back through the crowd," he said. "When I crashed the cymbals on the downbeat of the chorus, you could just feel this incredible, like, tidal wave of energy and it's just like whoosh."

"We have been playing rock music our whole lives. That is that moment," Slichter said. "That is a rock star moment."

'A Chunk of Change'

But as the song started to spread across the airwaves of American radio, from Los Angeles to New York, the new rock star said he was in on one of the secrets of his band's success — payola.

"We definitely benefited from payola," Slichter said. "There is no doubt about it."

Payola, what many authorities would call bribes, is money and gifts that record companies and middlemen give to radio stations to play songs.

"It cost something close to $700,000 to $800,000 to get 'Closing Time' on the air," said Slichter, "to keep it on the air long enough for people, for public taste to really grab on to it, yeah. A chunk of change."

Payola was a multimillion-dollar secret that was out in the open at last week's Grammy festivities in Los Angeles, where a number of recording artists on the red carpet said it was an unfortunate part of the industry.

When asked if he believed if payola still existed in the industry, veteran artist Tony Bennett said, "Absolutely. It costs a lot of money to make something famous."

Grammy nominee Fiona Apple told ABC News, "It's a business about money. People are trying to get what they want done, and they'll pay for it if they've got the money, sure." Apple added that she did not know if payola was responsible for getting any of her work on the airwaves.

Others were also not surprised that payola still existed.

"I think that's been going on a really, really long time," said Foo Fighters drummer Taylor Hawkins. "I think back in the '70s, they used to pay people with hookers and cocaine, and now they're just doing it with straight-up money — so they can go out and buy their own hookers and cocaine."
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