Hardcore hip hop

Not to be confused with Rapcore or Horrorcore.

Hardcore hip hop (also hardcore rap) is a genre of hip hop music that developed through the East Coast hip hop scene in the 1980s. Pioneered by such artists as Kool G Rap, 2Pac, Schoolly D, Spoonie Gee, Boogie Down Productions, Public Enemy, The Earl (Thomas Dent), Nas, and N.W.A, it is generally characterised by anger, aggression, and confrontation.

History

Run-D.M.C. have been credited as the first hardcore hip hop group.[1] Other early artists to adopt an aggressive style were Schoolly D in Philadelphia and Too $hort in Oakland. Before a formula for gangsta rap had developed, artists such as Boogie Down Productions and Ice-T wrote lyrics based on detailed observations of "street life", while the chaotic, rough style of Public Enemy's records set new standards for hip hop production.[2] In the early 1990s, hardcore rap became largely synonymous with West Coast gangsta rap, with artists like 2Pac infusing Gangsta themed stories of gritty gang life. N.W.A and the Wu-Tang Clan emerged in the early 90's. Wu Tang Clan's minimalistic beats and piano-driven sampling became widely popular among other hip hop artists of the time, such as Onyx, House Of Pain, Ras Kass and Cypress Hill.[2]

Characteristics

Gangsta rap has been associated with the style; however, not all hardcore hip hop revolve around "gangsta" lyrical themes, even though there is a great deal of overlap, especially among hardcore rappers of the 1990s.[2] Hardcore Hip hop is characterised by aggression and confrontation and generally describes violence or anger. Russell Potter wrote that while hardcore rap has been associated with a "monolithic 'gangsta' outlook" by the popular press, hardcore rappers have "laid claim to a wide variety of ground".[3]

Hardcore rap & hip hop artists

References

  1. ↑ Thomas Erlewine, Stephen. allmusic ((( Run-D.M.C. > Biography ))). Allmusic. Accessed January 14, 2008.
  2. 1 2 3 [Hardcore hip hop at AllMusic Hardcore Rap]. Allmusic. Accessed May 22, 2008.
  3. ↑ Potter, Russell A. (1995). Spectacular Vernaculars: Hip-hop and the Politics of Postmodernism. p. 130. SUNY Press. ISBN 0-7914-2626-2.
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