Hardcore hip hop

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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, The Notorious B.I.G., Schoolly D, Ice T, Ice Cube, Spoonie Gee, Boogie Down Productions, Public Enemy, Nas, Big L, and N.W.A, it is generally characterised by anger, aggression, and confrontation.


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]


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[edit]


  1. ^ Thomas Erlewine, Stephen. allmusic ((( Run-D.M.C. > Biography ))). Allmusic. Accessed January 14, 2008.
  2. ^ a b c [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.