Editing New-school hip-hop (section)

==Further development==
{{See also|Golden age hip-hop}}

===The Juice Crew===
One of hip hop's most important producers and innovators, [[Marley Marl]] found [[Cold Chillin' Records]] and assembled various hip hop acts, including [[MC Shan]], [[Big Daddy Kane]], [[Biz Markie]], [[Roxanne Shante]], [[Kool G Rap|Kool G Rap & DJ Polo]], and [[Masta Ace]].<ref name="allmusicMarley">{{cite web|last=Huey|first=Steve|url=http://www.allmusic.com/artist/p101803/biography|title=Marley Marl|publisher=[[AllMusic]]. [[Rovi Corporation]]|access-date=2012-05-01}}</ref> His [[Juice Crew]] collective was an important force in ushering the [[Golden age hip-hop|"golden age" era]] of hip hop, with advances in lyrical technique, distinctive personalities of emerging stars like Biz Markie and Big Daddy Kane, and attaining [[crossover (music)|crossover]] commercial success for hip hop music.<ref name="allmusicMarley" />

Marley Marl's first production was an "answer record" to "Sucker MCs" in 1983 entitled "Sucker DJs" by Dimples D. Soon after came 14-year-old Roxanne Shanté's answer to [[UTFO]]'s "Roxanne Roxanne", "Roxanne's Revenge" (1985), sparking off the huge wave of answer records known as the [[Roxanne Wars]].<ref name="allmusicMarley" /> More disses (insults intended to show disrespect) from Shanté followed: "Bite This" (1985), "Queen of Rox" (1985), introducing [[Biz Markie]] on "Def Fresh Crew" (1986), "Payback" (1987), and perhaps her greatest record, "Have a Nice Day" (1987).<ref>Shapiro, p. 196</ref>

===Boogie Down Productions===
[[File:KRS-One crop.jpg|thumb|right|220px|[[Boogie Down Productions]]' [[KRS-One]] exemplified new school's [[hardcore hip hop|hardcore]] and [[political hip hop|political]] aesthetics.]]
Shante's "Have a Nice Day" had aimed some barbs at the principal two members of a new group from the Bronx called Boogie Down Productions (BDP): "Now KRS-ONE you should go on vacation with that name soundin' like a wack radio station, and as for Scott La Rock, you should be ashamed, when [[T La Rock]] said "It's Yours", he didn't mean his name". Boogie Down Productions had manufactured a disagreement with the Juice Crew's [[MC Shan]], releasing "South Bronx" and "The Bridge is Over" in reply to his "The Bridge" and "Kill That Noise" respectively.<ref>Coleman, p. 84–85.</ref>
KRS-One considered Run-D.M.C. the epitome of rap music in 1984 and had begun to rap following their lead.<ref>Coleman, p. 76</ref> But he has also said that BDP's approach reflected a feeling that the early innovators like Run-D.M.C. and LL Cool J were by 1986 tainted by commercial success and out of touch with the streets.<ref>Coleman, p. 86.</ref>

Boogie Down's first album ''[[Criminal Minded]]'' ([[B-Boy Records|B-Boy]], 1987) admitted a [[reggae]] influence and had KRS-One imititating the Beatles' "Hey Jude" on the title track. It also contained two tales of grim street life, yet played for callous laughs: "The P Is Free", in which KRS speals of throwing out his girl who wants [[crack cocaine]] in exchange for sex, and "9mm Goes Bang", in which he shoots a drug dealer then cheerfully sings "la la la la la la". Songs like these presaged the rise of an underground that matched violent lyrics to the hardcore drum machine tracks of the new school. The cover of ''Criminal Minded'' was a further reflection of a move towards this sort of radical image, depicting the group in a half-light, holding firearms.<ref>Coleman, p. 88</ref> The next album ''[[By All Means Necessary (album)|By All Means Necessary]]'' (B-Boy, 1988) left that element behind for political radicalism following the murder of [[Scott La Rock]], with the title and cover alluding to [[Malcolm X]]. KRS-One became involved with the [[Stop the Violence Movement]] at this time. Boogie Down Productions, along with Run-D.M.C. and Public Enemy, associated the new school as rap music with a strong message.<ref name=globe>Jackson, Derrick Z. "Welcome To The School Of Rap Music It's in Session Now, And There Are Some Positive Lessons", ''Boston Globe'', August 13, 1989.</ref>

===Eric B. & Rakim===
{{Refimprove section|date=May 2012}}

Eric B. & Rakim appeared with the Marley Marl-produced "Eric B. Is President" and "My Melody" on Zakia Records in 1986. Both tracks appeared on ''[[Paid in Full (album)|Paid in Full]]'' ([[4th & B'way Records|4th & Broadway]], 1987). Just as B.D.P. had, the pair reflected changes in street life on their debut's cover, which depicted the two wearing huge gold chains and surrounded by money. Like [[Criminal Minded]], the sampling prevalent in the album cemented James Brown's status as a hip hop source, while Rakim's allusions showed the growing influence of mystic Nation of Islam-offshoot [[Five-Percent Nation|The Nation of Gods and Earths]] in hip-hop.  The music was minimalist, austerely so, with many writers noting that coupled with Rakim's precise, logical style, the effect was almost one of scientific rigour.  The group followed ''Paid in Full'' with ''[[Follow the Leader (Eric B. & Rakim album)|Follow The Leader]]'' ([[Uni Records|Uni]], 1988), ''[[Let the Rhythm Hit 'Em]]'' ([[MCA Inc.|MCA]], 1990) and ''[[Don't Sweat the Technique]]'' (MCA, 1992).

Rakim is generally regarded as the most cutting-edge of the MCs of the new school era.<ref>Neal, Mark Anthony. [http://www.popmatters.com/music/features/031119-rakim.shtml "...And Bless the Mic for the Gods: Rakim Allah"], ''PopMatters'', November 19, 2003. Retrieved on July 2, 2008.</ref>
Jess Harvell in ''Pitchfork'' in 2005 wrote that "Rakim's innovation was applying a patina of intellectual detachment to rap's most sacred cause: talking shit about how you're a better rapper than everyone else."<ref>Harvell, Jess. [http://www.pitchforkmedia.com/article/record_review/17495-paid-in-full-follow-the-leader "Paid in Full/Follow the Leader"] {{webarchive|url=https://web.archive.org/web/20081210025535/http://www.pitchforkmedia.com/article/record_review/17495-paid-in-full-follow-the-leader |date=2008-12-10 }}, ''Pitchfork'', June 2, 2005. Retrieved on July 2, 2008.</ref> Christgau in the ''Village Voice'' in 1990 wrote of Rakim's style as "calm, confident, clear. On their third album, as on their phase-shifting 1986 debut," he continues, "Eric B.'s samples truly are beats, designed to accentuate the natural music of an idealized black man's voice."<ref>Christgau, Robert. [http://www.robertchristgau.com/get_artist2.php?id=1119 Consumer Guide], ''Village Voice'', 1990. Retrieved on July 2, 2008.</ref> Looking back at the late eighties in ''Rolling Stone'' in 1997, Moralez describes Rakim as "the new-school MC of the moment, using a smooth baritone to become the jazz soloist of mystic Afrocentric rap."<ref>Morales, Ed. [https://web.archive.org/web/20080513093409/http://www.rollingstone.com/artists/rakim/albums/album/302568/review/5942482/the_18th_letterthe_book_of_life "Rakim: The 18th Letter/The Book of Life"], ''Rolling Stone'', November 10, 1997. Retrieved on July 2, 2008.</ref>

===Public Enemy===
[[File:Public Enemy @ Sir Stewart Bovell Park (2 1 2011) (5356059653).jpg|alt=Three men on stage, one of whom is holding a guitar.|thumb|right|Public Enemy performing in 2011]]
Public Enemy, having been reluctantly convinced to sign to a record label, released ''[[Yo! Bum Rush the Show]]'' on Def Jam in 1987.<ref name="Coleman351">Coleman, p. 351</ref> It debuted the Public Enemy logo, which depicted a hatted b-boy in a sniper's crosshairs, and was replete with battle rhymes ("Miuzi Weighs a Ton", "Public Enemy #1"), social-political fare ("Rightstarter, Message to a Black Man)" and anti-[[crack cocaine|crack]] messages ("Megablast").<ref name="Coleman351" />

The album was a critical and commercial success, particularly in Europe, unusually so for a hip hop album at that time.<ref name="Coleman354">Coleman, p. 354</ref> ''Yo! Bum Rush the Show'' had been recorded on the heels of Run-D.M.C.'s ''Raising Hell'', but was held back by Def Jam in order for them to concentrate on releasing and promoting the Beastie Boys' ''License to Ill''.<ref name="Coleman351" /> Chuck D of Public Enemy felt that by the time their first record was released, BDP and Rakim had already changed the landscape for how an MC could rap.<ref name="Coleman351" /> Public Enemy were already recording their second album ''[[It Takes a Nation of Millions to Hold Us Back]]'' (Def Jam, 1988) when ''Yo! Bum Rush the Show'' hit stores.<ref name="Coleman351" />

===Gangsta rap===
{{main|Gangsta rap}}

The underground sound centered on urban violence that was to become [[gangsta rap]] existed on the East Coast from soon after Run–D.M.C. had inaugurated the new school of hip hop. Philadelphia's [[Schoolly D]] self-released "Gangsta Boogie" in 1984, and "P.S.K. What Does It Mean?"/"Gucci Time" in 1985, leading to ''[[Saturday Night! – The Album|Saturday Night]]'' (Schoolly D, 1986, [[Jive Records|Jive]], 1987).<ref>Coleman, p. 406–407</ref> The West Coast, which became the home of gangsta rap, had [[Toddy Tee]]'s influential ''Batteram'' mixtape in 1985,<ref>Cross, p. 26–28</ref> and [[Ice-T]]'s "Six in the Morning" in 1986<ref>Cross, p. 24–5</ref> before [[N.W.A]]'s first records, leading to the hugely successful ''Straight Outta Compton'' in 1988.<ref>Cross, p. 33–36</ref>

===Native Tongues===
Developments in the New York new school continuum in this climate were represented by the [[Native Tongues]] groups—[[the Jungle Brothers]], [[De La Soul]], [[A Tribe Called Quest]], [[Queen Latifah]] and [[Monie Love]]—along with fellow travellers like [[Leaders of the New School]], [[KMD]] and [[Brand Nubian (hip hop group)|Brand Nubian]].<ref>Wang, Oliver. [https://archive.today/20120904091300/http://www.laweekly.com/music/music-reviews/howl/11379/ "Howl"], ''LA Weekly'', June 28, 2000. Retrieved on July 2, 2008.</ref><ref>Gloden, Gabe. [http://www.stylusmagazine.com/reviews/brand-nubian/fire-in-the-hole.htm "Brand Nubian Fire in the Hole"] {{webarchive|url=https://web.archive.org/web/20100128053128/http://www.stylusmagazine.com/reviews/brand-nubian/fire-in-the-hole.htm |date=2010-01-28 }}, ''Stylus'', September 9, 2004. Retrieved on July 2, 2008.</ref><ref name="Shapiro210">Shapiro, p. 210</ref> They moved away from aggressive, macho posturing, towards ambiguity, fun and Afrocentricity. Their music was sample-crowded, more open and accessible than their new school predecessors. De La Soul's debut sampled everyone from [[the Turtles]] to [[Steely Dan]], while A Tribe Called Quest matched tough beats to mellow jazz samples and playful, thoughtful raps.<ref name="Shapiro210" />