Tip drill slang definition. Tip Drill: Slang Definition, Usage, and Cultural Impact

What is the meaning of tip drill in slang. How is tip drill used in popular culture. Why has the term tip drill become controversial. What are the origins of the slang term tip drill.

Understanding the Slang Term “Tip Drill”

The slang term “tip drill” has gained prominence in urban vernacular, particularly within hip-hop culture. Its usage and meaning have evolved over time, often sparking debates about its appropriateness and implications.

Definition and Usage

In slang context, “tip drill” typically refers to:

• A woman with an attractive body but a less appealing face
• A person valued primarily for their physical attributes rather than personality or intellect
• A sexual practice or encounter focused solely on physical gratification

The term’s usage is often considered derogatory and objectifying, particularly towards women. It reflects a broader cultural tendency to evaluate individuals based on physical appearance, especially in certain social settings or entertainment contexts.

Origins and Evolution of “Tip Drill”

The exact origins of “tip drill” as slang are somewhat murky, but its popularization can be traced to early 2000s hip-hop culture. The term gained widespread recognition following the release of rapper Nelly’s controversial music video “Tip Drill” in 2003.

Cultural Impact

Nelly’s “Tip Drill” video significantly amplified the term’s visibility and sparked intense debates about the portrayal of women in hip-hop. The video’s explicit content and the song’s lyrics contributed to discussions about misogyny, objectification, and the responsibilities of artists in shaping cultural narratives.

Controversy and Criticism Surrounding “Tip Drill”

The use of “tip drill” in popular culture has faced substantial criticism from various quarters. Critics argue that the term and its associated imagery perpetuate harmful stereotypes and contribute to the dehumanization of women, particularly women of color.

Academic and Feminist Perspectives

Scholars and feminist activists have analyzed the term “tip drill” within the broader context of hip-hop culture and its impact on gender relations. Many argue that such language reflects and reinforces problematic power dynamics and attitudes towards women in society at large.

Usage in Hip-Hop and Popular Music

While “tip drill” gained notoriety through Nelly’s song, its usage extends beyond this single instance. The term has appeared in numerous hip-hop tracks, often in contexts that celebrate physical attractiveness or describe sexual encounters.

Examples in Lyrics

Several hip-hop artists have incorporated “tip drill” into their lyrics, sometimes embracing its controversial nature, while others have used it more casually as part of the genre’s vernacular. This widespread usage has contributed to the term’s entrenchment in certain subcultures.

Societal Implications of “Tip Drill” Usage

The prevalence of terms like “tip drill” in popular culture raises important questions about societal values, gender relations, and the impact of language on perceptions and behaviors.

Impact on Youth and Social Norms

Concerns have been raised about how the normalization of such language affects young people’s attitudes towards relationships, consent, and mutual respect. Educators and parents often grapple with addressing these influences in constructive ways.

Evolving Attitudes and Language Usage

As societal awareness of gender issues and respect in relationships has grown, there has been a shift in how terms like “tip drill” are perceived and used. Many artists and individuals have become more conscious of the potential harm in such language.

Pushback and Reclamation Efforts

Some individuals and groups have attempted to reclaim or redefine terms like “tip drill,” aiming to subvert their original negative connotations. However, these efforts remain controversial and are not universally accepted.

Alternatives and Respectful Language

In response to criticisms of terms like “tip drill,” there have been calls for more respectful and inclusive language in music and popular culture. This shift reflects broader societal changes and increased awareness of the power of language.

Promoting Positive Representations

Many artists, educators, and activists are working to promote language and imagery that celebrate diversity, respect, and equality. This includes efforts to highlight positive representations of women in music and media.

Cultural Context and Interpretation

Understanding the usage and implications of terms like “tip drill” requires consideration of cultural context. Different communities and generations may interpret and use such language in varying ways.

Cross-Cultural Perspectives

The interpretation and impact of “tip drill” can vary significantly across different cultural contexts. What may be seen as acceptable or even empowering in one community might be considered offensive in another.

The term “tip drill” serves as a focal point for broader discussions about language, respect, and representation in popular culture. Its usage and the debates surrounding it reflect ongoing societal negotiations about gender, sexuality, and mutual respect in interpersonal relationships.

As cultural norms continue to evolve, it’s likely that the perception and usage of terms like “tip drill” will also change. This evolution highlights the dynamic nature of language and its power to shape and reflect societal values.

Ultimately, the conversation around “tip drill” and similar terms underscores the importance of critical engagement with popular culture and the language we use. It reminds us of the need for ongoing dialogue about respect, equality, and the impact of our words on individuals and society as a whole.

What does tip drill mean? tip drill Definition. Meaning of tip drill. OnlineSlangDictionary.com

Google has been penalizing this site in its search rankings for years and a Google
employee lied about it. Since they have almost killed this site, I am going to
start releasing details on Monday August 17 of my conversation with the Google
employee who told me about the penalty in secret. This will culminate in my release of
an MBOX file including full headers.
More here. 2021-03-21: Screw it.
MBOX file here.

Google has been penalizing this site in its search rankings for years and a Google
employee lied about it. Since they have almost killed this site, I am going to
start releasing details on Monday August 17 of my conversation with the Google
employee who told me about the penalty in secret.
More here.

Google has been penalizing this site in its search rankings for years and a Google
employee lied about it. I am going to
start releasing details on Monday August 17 of my conversation with the Google
employee who told me about the penalty in secret.
More here.

Google has been penalizing this site in its search rankings for years and a Google
employee lied about it. Details of my conversation with the Google
employee who told me about the penalty in secret start Monday August 17.
More here.

Google has been lying about the penalty against this site for years.
My conversation with the Google employee who told me about the penalty starts dropping
August 17. More here.

• a female that has a nice body but a not so nice face
  
  

  Last edited on May 28 2005. Submitted by kenya
  on May 28 2005.
  

• a woman with a nice body and ugly face
  
  

  Last edited on Aug 01 2005. Submitted by Julie N. from Plano, TX, USA
  on Aug 01 2005.
  

Slang terms with the same meaning

None found.

Slang terms with the same root words

Other terms relating to ‘drill’:
	Definitions include: an event in which occupants of a stopped car (usually at a traffic signal) exit the car, run around it, and then re-enter the car.
	Definitions include: the usual procedure.
	Definitions include: to investigate in depth.
	Definitions include: rough sex with deep penetration.
	Definitions include: the customary procedure; “routine”.
	Definitions include: statement that it is time to do an activity for real, rather than for practice.
Other terms relating to ‘tip’:
	Definitions include: a tip shared between men.
	Definitions include: police
	Definitions include: See go cow tipping.
	Definitions include: An abnormally large exhaust tip, typically chrome, which is intended to convince people the installed vehicle has a professional-level racing exhaust.
	Definitions include: to literally get one’s penis wet, via receiving oral sex or having sexual intercourse.
	Definitions include: to push cows over while they are sleeping, as a form of amusement.
	Definitions include: thanks.
	Definitions include: “hat tip”.
	Definitions include: about to be remembered.
	Definitions include: a piece of advice to help someone become a pro at something.
	Definitions include: the glans (“head”) of the penis.
	Definitions include: a very small part of something larger.
	Definitions include: A phrase usually used by bartenders to imply that a patron should acknowledge gratuity.
	Definitions include: said to a person who’s leaving little or no tip for services rendered.
	Definitions include: spilling a small quantity of a beverage (usually a 40 ounce container of beer) on the ground in order to honor the deceased.

Average of 22 votes:
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Nelly’s “Tip Drill” Video – Persephone Magazine

I am happy to say that I have finally gotten enough free time to be able to go through my iTunes and cut out all the old music I don’t listen to anymore. When I got to the Ns and started deleting Nelly songs, I was intrigued to remember that I had his old song “Tip Drill” from way back when I was a teenager. I remember being shown the video by an old friend, one that was both shocking and profanely exciting in nature to me in discovering my new-found feminine sexuality.

I looked at it yesterday more shocked and disgusted, as opposed to naughtily intrigued. For those not familiar with this pornographic piece of art  (NSFW, so watch at your own discretion), it was a highly controversial music video that came out in 2003 that took sexual degradation in mainstream rap videos to an extreme, displaying dozens of African American women butt-naked and simulating sexual acts with each other while the rappers in the video touch them in a sexual manner.

As I sat there watching, I couldn’t help but be reminded of Robin Thicke’s “Blurred Lines” video, but the main difference between Robin Thicke and Nelly is that this video was intensely disrespectful to women of color: one definition of a “tip drill,” according to Urban Dictionary, is a “girl with a great body but a fucked up face,” which relates directly to the lyrics “it must be her ass, ’cause it ain’t her face.” While Nelly always simply defended this video as “adult entertainment,” it was clear that he felt he bore no responsibility in perpetuating instances of hatred for women of color, his insulting justification being that this kind of misogyny existed long before he continued to carry the torch.

This brings me to another important instance of sexism that I encountered this week in my own personal life: a University of Toronto professor coming under fire for his recent comments about not wanting to teach women writers. The Internet exploded over David Gilmour’s comments, which he claimed were sarcastic and meant as a joke, and U of T students even went so far as to petition to get Gilmour removed as an instructor. Meanwhile, these forms of hatred are forgotten about.

These are just some quick, preliminary thoughts on this newly rediscovered video, but I feel as though feminists are quick to jump all over a white man’s comments and take luxurious amounts of time to demonize him for a stupid comment, but these lengthy forms of visual sexism and oppression do not receive the same amount of attention, and a lot of it has to do with who is being victimized, in this case, black women.

Slang Define: What is Tip Drill?

1.

A tip drill is another name for runnin a train on a girl.

Comes from baseketball where players line up at the free throw line and tip it off the backboard consecutively, one after another.

Think of it in the sense of a group of men runnin a train on a woman. First man in line hits, next man follows until everyone has had a turn…

If the nelly song is the first time u have heard this term try listening to the lyrics more carefully. Just cause they say ” it must be your ass cause its not your face” doesnt mean a tip drill is a chick with a big botty and an ugly face.

example:

“I said it ain’t no fun less we all get some

I need a tipdrill, we need a tipdrill “

2.

When a girl bends over and her man puts his penis in her ass crack without any penetration. This is usually done as foreplay before doggystylesex or as an act when the man and the woman do not want to engage in full intercourse. It is the ass equivalant of a titty fuck. The woman’s ass cheeks are used to excite the penis, sometimes to ejaculation. Her ass is “polishing your tip”.

ALSO, a girl who has a nice ass. This is because a girl needs a nice ass in order for this act to be pleasureable.

Many people confuse this word for the equivelent of running the train. This is because this act is used by many men on one woman on after the other. This is common because a tip drill does not involve penetration, making it easier to be repeated on one girl in a short amount of time.

The act is mock performed in Nelly’s “Tip Drill” video. Also, the video focuses on the ass crack and at the end, Nelly swipes a credit card on a girl’s ass, simulating the act.

“See now i wanna let you ride but the rubber might slide you’s a tip drill girl you a tip drill”

“Now baby girl bring it ova let me spit my pimp juice i need a tip drill i need a tip drill”

Nelly–“Tip Drill”

See tip, nelly, apple bottom, titty fuck

3.

Everybody is getting confused because tip drill is used a couple ways: (1) using the tip of the penis in the crack of a woman’s ass without penetration, and (2) the type of woman who who do the act – has a big ass and is a freak, but not necessarily a pretty face (see Nelly’s song “Tip Drill”). It’s analogous to calling someone a chicken head, except instead of performing oral, they perform ass grinding.

“Toot that ass up mama put that dip in ya back and let me tip drill just let me tip drill” and “see now i wanna let you ride but the rubber might slide you’s a tip drill girl you a tip drill”.

4.

to bend over (“Tip” your body over) and shake your bottom (as if you are holding a construction “Drill” or jackhammer)

see the 2003 song by rapper Nelly (“Tip Drill)

See tip, drill, dance, nelly, tipdrill, tip drill, tipping, drilling, dancing

5.

During a lap dance a stripper will back that big b00ty up to grind n bounce her ass crack all ovah tha john’s dick. Essentially this is a repetitive screwing like motion that drills tha nigga for a tip. The term can be used as a verb to describe the act, & as a noun to describe either the man or woman involved in this luscious freaky simulated sex act. Keep your mind on the money n the act as for the face who gives a damn what the trick or hoe looks like when drillin yer tip in that dark mine hole

Verb- shows action (action verb) or being (linking verb)

Nelly:

Turn that ass up mama put that dip in ya back

And let me tip drill, just let me tipdrill

Noun- person, place, thing or idea

Murphey Lee:

Now mama girl you gotta friend that dont mind joinin in

I’m a tip drill, cause I’m a tipdrill

Girl:

Yous a tipdrill, nigga you a tipdrill

I know you a trick go spend that shit

You old tipdrill, you monkeyass tipdrill

See nelly, butt pirate, lap dance, tipdrill

6.

a person who doesn’t look to good but has a body. The person is freaky and down right nasty. A tip drill can be a female or male.

“My applebottom lookin right, I know u want to bite, nigga u a tipdrill.”

“It must be the ass cuz it ain’t your face cuz girl u a tip drill.”

7.

when a guy has sex with just the tip of his of his dick: not fully penatrating the female.

“See now i wanna let you ride but the rubber might slide you’s a tip drill girl you a tip drill”

See tip, lap, friction, drill

Urban Thesaurus – Find Synonyms for Slang Words

As you’ve probably noticed, the slang synonyms for “term” are listed above. Note that due to the nature of the algorithm, some results returned by your query may only be concepts, ideas or words that are related to “term” (perhaps tenuously). This is simply due to the way the search algorithm works.

You might also have noticed that many of the synonyms or related slang words are racist/sexist/offensive/downright appalling – that’s mostly thanks to the lovely community over at Urban Dictionary (not affiliated with Urban Thesaurus). Urban Thesaurus crawls the web and collects millions of different slang terms, many of which come from UD and turn out to be really terrible and insensitive (this is the nature of urban slang, I suppose). Hopefully the related words and synonyms for “term” are a little tamer than average.

Urban Thesaurus

The Urban Thesaurus was created by indexing millions of different slang terms which are defined on sites like Urban Dictionary. These indexes are then used to find usage correlations between slang terms. The official Urban Dictionary API is used to show the hover-definitions. Note that this thesaurus is not in any way affiliated with Urban Dictionary.

Due to the way the algorithm works, the thesaurus gives you mostly related slang words, rather than exact synonyms. The higher the terms are in the list, the more likely that they’re relevant to the word or phrase that you searched for. The search algorithm handles phrases and strings of words quite well, so for example if you want words that are related to lol and rofl you can type in lol rofl and it should give you a pile of related slang terms. Or you might try boyfriend or girlfriend to get words that can mean either one of these (e.g. bae). Please also note that due to the nature of the internet (and especially UD), there will often be many terrible and offensive terms in the results.

There is still lots of work to be done to get this slang thesaurus to give consistently good results, but I think it’s at the stage where it could be useful to people, which is why I released it.

Special thanks to the contributors of the open-source code that was used in this project: @krisk, @HubSpot, and @mongodb.

Finally, you might like to check out the growing collection of curated slang words for different topics over at Slangpedia.

Please note that Urban Thesaurus uses third party scripts (such as Google Analytics and advertisements) which use cookies. To learn more, see the privacy policy.

A DRILL DICTIONARY | tony thorne

By their keywords shall thee know them?

The latest in a long series of moral panics (the term used by sociologists since the 1970s) exploited by the UK press and now subject of rancorous political debate, the issue of knife-crime and killings by street gangs, mainly in London, is genuinely concerning and is only now receiving the attention and analysis it demands. A side-effect of media interest is that the language used by the gang members and by the music genres that celebrate them is being recorded – haphazardly and not always accurately – for the first time. The musical genre in question is UK Drill, a successor to the ultra-hard-edged Trap Rap (from The Trap, slang nickname for the local area where drugs are dealt) that appeared first in Chicago in the 2000s. Drill (the word can signify shooting but has many other slang senses) has been adopted and adapted by hyperlocal urban communities in the poorer parts of London and, despite their claims, doesn’t just evoke the harsh realities of life on inner-city estates, but often glamorises it and seems to promote an ethos of territoriality, boastful masculinity and murderous retaliatory violence.

So far only very few reporters have managed to penetrate the groups whose members occupy and fiercely defend their microzones, fighting for control, too, of economies based on drug trading. The rappers emerging from the same postcode- or estate-defined enclaves compete and feud electronically, dissing and threatening their rivals in their lyrics – and in a few cases have actually been implicated in killings or woundings on the street.

In May 2018 the Metropolitan Police intensified attempts to ban videos associated with the music genre and the gangs caught up in street violence:

https://www.independent.co.uk/news/uk/crime/drill-music-stabbings-london-youtube-violence-police-knife-crime-gangs-a8373241.html

Since beginning this project I have managed to engage with some members of this subculture and find out more about their values and the way they encode them. In the meantime I have begun to assemble a lexicon of the most significant key terms they use, in a slang which mixes US hiphop argot and Caribbean expressions transposed to or reinvented in London (harking back to the Yardie gang culture of the 1980s). So far just a glossary, my list is far from complete, so please help me add more items if you can, or correct my mistakes. Here is this work in progress as it stands, now updated for July 2020, followed by some relevant links…

125 – scooter

Active – dependable associate

– involved in gang activities

Ahk, Akhi – brother, friend (from Arabic)

Amm – cannabis (abbreviation of Amnesia, a potent strain)

Askari – police (from Arabic and other African languages)

Back out – draw (a weapon)

Bagged – caught by the police

Bagging – stabbing in the lower body

Bally, Bali – balaclava

Bando – abandoned property

Bands – coloured elastic bands tying batches of cash

Banger – hit, successful song

Bap – the sound of  a shot or gunfire

 – to fire (a gun)

Bars – lyrics

Beef – dispute, feud

Bells – bullets

Birded off, birded up  –  imprisoned

Bitz – one’s neighbourhood

– drugs weighing more than 7 grams

Blam – shoot

Blow – leave, escape

– ‘take off’, achieve career success

Blunt – cannabis ‘spliff’

Bones – dead

Booj, buj – heroin

Bookie, buki – suspicious

Bora, borer – knife

Box – prison

Boxed, boxed in, boxed up – imprisoned

Bozz – leader

– excellent

Breeze off – leave town, disappear

Bruck, bruk – broken (down), broke

Bruckshot – sawn-off shotgun

Buj – obnoxious person

Bun – light up (a cannabis cigarette)

 – shoot, eliminate

Burner – gun

Burst – shoot

Cabby – cigarette containing cannabis and cocaine or cannabis and crack mix

Cake – crack or cocaine

Cally – cannabis

Can – prison

Car, cah – because

Cat – drug user and/or drug purchaser

CBO – criminal behaviour order

Cheffed (up) – stabbed, killed

Chete – machete

Ching – knife

– to stab

Chinging – chilling and hanging out

– stabbing

Civilian  – non-gang-member, non-combatant

Clap – attack, shoot

– steal drugs

Codes – ‘postcode areas’, zones where gangs dominate

Corn – ammunition

Crash – raid, invade

– shoot

Crashing corn – shooting your gun

Crib – home

Cro – cannabis

Cunch – out-of-town locations where drugs can be sold

Cutter – knife

Cuttin – leaving, running away

– mixing or adulterating illicit drugs

Dark – heroin

Dash – throw

– run (away)

Dasheen – running away, fleeing

Diligent – admirable, brave, cool

– dependable associate

Ding dong – dispute, brawl

also dinger, dinga, ding – cheap car

Dipped – stabbed

Dipper – knife

Don – respected person

Dottie, Dotty, Dotz – shotgun

Doughnut – idiot

Drawn out – involved in gang culture, under pressure from street crime

– lured, rendered vulnerable

Drenched – stabbed

Driller – shooter, gang member

Drilling – attacking, aggressing, invading

Dumpy – shotgun

Dun – kill(ed), punish(ed)

Duppy – kill, dead

Elizabeth – money

Endz – one’s neighbourhood

4-door – saloon car

Feds – police

Field – danger-zone, combat area

Fishing – looking for victims

Flake – cocaine

Flashed – stopped, pulled over e. g by police

Flicky – switchblade knife

Food – drugs

Fry – shoot (at)

Gassed – excited

g-check – aggressively check someone’s gang credentials

Gem – weak person

Get the drop – acquire necessary information

Glide – drive into enemy territory

GM – (fellow) gang member

Go cunch/country – leave the city to sell drugs in rural/seaside locations

Got – attacked, robbed

Grubby – authentic, tough (neighbourhood)

Guv – prison officer

Gwop – money

Habsi, hapsi – black person

Hand ting – pistol

Hitter – gunman

Hottie – SIM card

Iron  – gun

Jakes – police

Joint – gun

Jump out – undercover police on patrol

– emerge from a vehicle

Juiced – confident, energised

– bloodstained

Khala – black person

Khalas!  – ‘that’s enough’, stop!

Ketchup – blood

Kick down doors, kick in doors, kick door – raid a domestic location

Kwef – violence

Kweff, Queff – kill with gun or knife, harm, attack

Kweng – cut, stabbed

Lacking – caught unawares, without backup

Landing – prison, cell

Layers – protective clothing

Leggin (it) – escaping, running away

Leng – gun

Let rip – fire a bullet or discharge a firearm

Light – cocaine, crack

Line – a drug-dealing operation or network

Link – contact, source for drugs

– make contact with, meet, collect

Lizzies – money

           – mobile phones

Loud  – cannabis

Lurk – stalk a victim, prowl around

Machine – gun

Mac(k) – automatic firearm, Mac -9 or Mac-10 small machine gun

Mains – close companions

– streets, urban zone

Mash – gun

Matic – gun

Matrixed – placed on the London Met police gang database

Mazza, Mazzaleen – madness, crazy situation

Ments – mental, crazy

Milly – a 9mm pistol

Moist – disgusting, pathetic

– cowardly, weak, afraid

Mop – large gun

Move  – criminal operation, raid or attack

Nank – knife, stab

Nap nap – kidnap

Need – cannabis

Niff – cocaine

No face – masked, with identity concealed

OJ – ‘on job’, productive and successful in street activities

Old Bill – the police

On papers – on parole or probation

On road – outdoors, active in the streets/neighbourhood(s), eg engaged in selling drugs

On tag – fitted with an electronic surveillance device

On volts – intent on or engaged in violence

Ooters – shooters

Opps – enemies

Opp-block – enemy territory

OT – ‘out trapping’, ‘out there’ or ‘out of town’, away on business, dealing in urban or country locations

Ox – razor, blade

Pagan, paigon – untrustworthy person, enemy

Paper, papes – money, cash

Passa – dispute, dramatic event

Patch – territory

Pattern – arrange, sort out, set up

Patty – slow-witted, ‘clueless’ or deluded person

– (white) female

Pave – streets

Pay  – profitable activity, reward

Pebs, pebbles – pellets or deals of heroin, crack or steroids

Ped – moped

Pen – prison

Pepper – spray with shotgun pellets or bullets, shoot

Plot – plan, set up

– hang around

– conceal

Plug –  a contact for drugs

Plugging – hiding drugs in rectum

Poke  – stab

Pole – shotgun, gun

Popo – police

Posted up – hanging around, positioned to sell drugs

Pree – to check out, assess (a person)

Proper – excellent, admirable

Ps – money

Push, pusha – bicycle

Put in/on a spliff – killed

Rack – quantity of money, £1000

Rambo – large knife or machete

Rams, Ramsay – knife

Rep – promote or publicly declare for (one’s area, gang)

Ride out for (someone) – to defend, even if guilty

Riding dirty – going out armed and/or in possession of drugs

Rise – aim (a weapon)

Riz  – cigarette papers

Road – street-smart, active in street culture

Rusty – antique or old firearm

Sam, sams – samurai sword or large knife

Score – kill or injure an enemy

Scoreboard, scorecard – list of enemies killed, injured or defeated

Scram – gun

Scrum – attractive female, sex

Shank – knife

Sh, shh – ‘don’t mention this’, censored item

Shaved – insulted, humiliated, punished

– stabbed

Sheets  – cigarette papers

Shot – buyer of drugs

Shotting  – dealing drugs

Shouts – greetings, acclaim

Skate, skeet – run away

Skeng – knife, gun, weapon

Skududu – rapid gunfire

Slammer – prison

Slatt – cry of affection, respect

Slew – ruin, defeat

Sliding – driving into enemy territory

Slime  – friend, associate

Smoke – kill

– disappear

– conflict, violence, hostility

Snitch – informer

Soak  – stab

Spinner – revolver

Spinners – petite females

Spitting – rapping

Splash, splash up, splash down – stab

Squirt – spray acid (over someone)

Stacks – large quantities of money

Stain – rob

 – robbery victim

Stepping on toes – trespassing on or attacking enemy territory

Stick – gun

Sticky – dangerous

Stones – bullets, pellets of crack

Strally – gun

Strap – gun

Strip – area where drugs are traded

Swimming – stabbed

Swing – wield (a knife), stab

Sword – knife

Tan – turn red, stain with blood

Tapped  – tired, off-guard

Tec, tek, tekky – handgun, Tec-9 semi-automatic pistol

Ten toes – run away, escape, invade, on foot

Throwing up signs – making gang-related gestures with fingers

Ting – girl

– gun

Trap – neighbourhood, ‘ghetto’, area where drugs are sold, temporary location for dealing drugs

Trapping – hanging out, selling drugs or waiting for buyers to contact

Trey, tre – pistol

Tum-tum – gun

Tweed – cannabis

24s – all day

Wap – gun

Warhead – cigarette containing a drug

Wass – stupid person

Weston – handgun

Wetter(s) – knife

Wetting – stabbing, killing

Whip – car

– break down (a drug) into smaller parts

Woosh – shoot

Worksy – busy, diligent

Yard – home

Yat – girl

Yay – crack

Yé – personal style, skill

Y. I.C – ‘youngest in charge’, young gang member taking or given responsibility

Yute – young person or young people on the street

Zombie  – zombie knife

Zoot – cannabis cigarette

I’m keen to add more authentic terms and for my list to be corrected or commented on by those in the know. I’m very grateful indeed to all those who have already contributed, in particular Josh Jolly,  Creative Director for PressPlay Media, Farhaz Janmohamed, George Baker and Nelson Bayomy and to the many students and Drill and Grime aficionados who have donated language.

You can find a dictionary of multi-ethnic London slang and other examples of so called MLE (Multicultural London English) here on my site. I have extensive files of youth language, available to researchers, journalists, etc. on request, and here are some more street slang terms from the UK Rap and Grime milieu, many also used by Drill aficionados:

https://genius.com/15983458

https://pigeonsandplanes.com/in-depth/2013/08/british-rap-slang/draw

And from the mouths of the Drillers themselves:

https://www.youtube.com/watch?v=ZnGZRWUHGh5

The only useful information on alleged links between drill and crime comes from commentators with a street-level perspective:

Is UK drill music to blame for London’s gang culture and violence?

https://pigeonsandplanes.com/in-depth/2018/01/uk-drill-sl-harlem-spartans-67-essay

Belatedly aware that Drill is worthy of attention (‘demonic’ was The Times‘ characterisation), the mainstream press began to investigate:

https://www.independent.co.uk/arts-entertainment/music/features/drill-music-london-stabbings-shootings-rap-67-abra-cadabra-comment-government-a8305516.html

https://www.theguardian.com/music/2018/apr/09/uk-drill-music-london-wave-violent-crime

One successful attempt to get inside the world of the gangs reveals the frustrations and futilities of life in ‘the bits’:

http://www. channel5.com/show/inside-the-gang/

As does this short film:

The lyrics to Ban Drill, essential reading/listening for anyone struggling to untangle the unresolved complexities of the issue are here:

https://beelyrics.net/music/12136-krept-konan/4628167-ban-drill-lyrics.html

And here, from Dazed magazine, is a small selection of some real peoples’ views (they resolutely absolve the music):

http://www.dazeddigital.com/politics/article/39960/1/knife-crime-young-people-east-london?utm_source=newzmate&utm_medium=email&utm_campaign=dazed_daily

In June 2018 this important piece, from youth worker Ciaran Thapar in the New Statesman:

https://www. newstatesman.com/culture/music-theatre/2018/06/treating-drill-rappers-terrorists-colossal-mistake

Here are some examples of the music, with very strong language:

…Compare and contrast all this with Drill’s older brother, Grime, as testified by Jeffrey Boakye:

Hold Tight: in conversation with Jeffrey Boakye

…And here, also from June 2018, a timely review of all Black UK music genres from Yomi Adegoke:

https://www.theguardian.com/music/2018/jun/01/grime-afro-bashment-drill-how-black-british-music-became-more-fertile-than-ever

View at Medium.com

In October 2018, Channel 4 TV commissioned a music video in which drill music is combined with language used by British politicians:

https://www. channel4.com/news/what-do-drill-musicians-make-of-mps-violent-rhetoric-watch-the-music-video

Here is an update on the subject from the Guardian:

https://www.theguardian.com/commentisfree/2019/feb/06/dont-censor-drill-music-listen-skengdo-am

In July 2019, from the Telegraph;

https://www.telegraph.co.uk/politics/2019/07/11/youtube-will-keep-drill-rap-videos-platform-despite-links-gang/

And in August Irena Barker reported in the Guardian on a scheme using drill with a positive spin:

https://www.theguardian.com/society/2019/aug/21/knife-crime-drill-music-tackle-gang-culture-young-people

More from Ciaran Thapar, also in the Guardian, on rappers OFB:

https://www.theguardian.com/music/2019/sep/06/uk-drill-rappers-ofb-no-one-helps-us-round-here-music-is-the-only-way?CMP=share_btn_tw

In October 2019 the slang words themselves were highlighted in the sentencing of a rapper:

https://www. dailymail.co.uk/news/article-7594837/Drill-rapper-banned-using-drug-related-slang-words-performing.html

In August 2020 Tortoise published a very detailed history of US Drill also by Ciaran Thapar, focusing on its Chicago origins:

https://members.tortoisemedia.com/2020/08/31/200831-drill-long-read/content.html#utm_source=twitter&utm_medium=social&utm_campaign=drill-pain-music

In the same month Vice magazine printed an important review by Kamila Rymajdo of the prosecuting and criminalising of Drill and some of its adherents:

https://www.vice.com/en/article/4ayp5d/drill-lyrics-used-against-young-black-men-court-uk

In January 2021 Elliott Kime wrote in the Economist about UK Grime and Drill music as vehicles for exporting UK street language and slang:

https://www.economist.com/britain/2021/01/30/grime-and-uk-drill-are-exporting-multicultural-london-english?fbclid=IwAR2VaFkDOBEjH7NSypk0P80huvEKBcmtGvbv1zXobfzyHzRvRENcil-lPWE

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What does drill mean?

The 100 Songs That Define NYC Rap and Hip-Hop, Ranked

Photo-Illustration: Stevie Remsberg

Hip-hop started out in the parks and traveled around the globe and back, picking up new accents and flavors in every region and time zone, rubbing elbows with other genres and cultures, and adapting to new climates and temperaments. But the spark that inspired the early bombers, breakers, DJs, and rappers to revolutionize art, dance, fashion, music, and language endures in New York City, changing alongside the advancing generations. When kids in the Bronx needed party music to distract from the violent tumult of the rocky ’70s, DJ Kool Herc figured out how to extend the climaxes of funk records, making long and euphoric vamps out of sweet seconds of ecstasy. Drum-machine fanatics took after forward-thinking auteurs like Prince and Miles Davis, assembling clattering, inhuman percussion parts that would lead to epochal early-’80s gems like Run-DMC’s “Sucker M.C.’s (Krush-Groove 1).” A happy studio accident in the late ’80s inspired Queens native and Cold Chillin’ crew member Marley Marl to invent the art of sampling, setting the stage for the plush jazz-rap stylings of acts like A Tribe Called Quest and the abrasive kung fu rap of the Wu-Tang Clan in the ’90s as well as the triumphant sounds of the Diplomats’ “Dipset Anthem” and Jay-Z’s “Public Service Announcement” in the next decade. As regionalism in rap began to ebb and artists from the East, South, West, Midwest, and overseas began trying out one another’s wares, stars like 50 Cent — and later Nicki Minaj — dominated via annexation, picking and choosing bits of popular sounds and fashions to graft onto their formidable arsenals of tricks.

To decide the “best” of New York rap would only tell half the story — an uneven one — so instead, we invited a team of writers to rank a new type of local canon: 100 songs that capture a bigger picture of the sound of the city. Old heads will tell you that New York rap is a distinct sound rooted in the ­thunder-and-lightning interplay between kick and snare drums in an East Coast boom-bap track, but really, it’s an attitude, a way to be. It’s the noisy, flashy style Harlem folks pick up across 125th Street and the gruff, no-nonsense speech of Brooklynites, the insular slang of the Queensbridge projects and the versatile blend of cultures you see in a trip through the Bronx. The enduring spirit of New York hip-hop is unbridled confidence, limitless audacity. It manifested itself through aspiring musicians boosting sound systems during the 1977 blackout, then turning into professional DJs seemingly overnight; through Run-DMC securing the first rap endorsement deal after repping shell-toe Adidas so hard in their music; through a 14-year-old Roxanne Shanté flaming UTFO in “Roxanne’s Revenge”; through Raekwon’s mob epics and Ghostface’s psychedelic crime stories; through Cam’ron getting shot three times and driving himself to the hospital in a Lamborghini, dripping in diamonds; through Jadakiss’s devilish signature laugh and Azealia Banks’s withering snark; through Bobby Shmurda’s gravity-defying hat and Pop Smoke’s guttural snarl.

The spirit of New York hip-hop springs eternal. Real heads know.

—Craig Jenkins

Erick and Parrish take the laid-back cool of Rakim and make it sound even icier on this cooler-than-thou classic. Over a brilliant Roger Troutman flip that highlights Sermon’s considerable production talent, the dynamic duo get down. A timeless single that came to embody hip-hop’s golden age. —Stereo Williams

If Larry Smith’s instrumental for “Friends” had come out today, it would still sound like it was beamed in from the future. Smith’s work, including with Run-D.M.C., is underappreciated for its ability to take the synthetic sounds of ’80s pop and reconfigure them to rattle your bones. —Paul Thompson

Though the gangsta rappers who emerged later in the decade would take the flak for promoting illegal activity in their music, Melle Mel and his Sugar Hill cohort Duke Bootee speak bluntly here about the criminality, poverty, and sheer desperation of being Black in the city in the 1980s. As bleak as its lyrics are, it was a minor hit. —Gary Suarez

A$AP Rocky, a known lover of Houston’s chopped-and-screwed scene, used his outside influences to create “Peso,” a song that plays off the trillness of his “Purple Swag. ” While reppin’ Harlem, the pretty motherfucker laid out what the A$AP Mob was about: high-end designers, smoking sections, and getting to the money. —Eric Diep

August 11th 2011: A$AP Rocky in Harlem.
Photo: Geordie Wood/Geordie Wood

Though fashion killa Rocky seemed the likeliest member of the hip-hop collective A$AP Mob to succeed in the Harlem set, this dancehall-nodding single by his boisterous consigliere proved so popular that it turned a mixtape drop into an album release. The titular loverman would later grace its remix alongside Busta Rhymes and two-out-of-three Migos. —Gary Suarez

He’d broken out big on Wu-Tang Clan’s first album, and this dark masterpiece announced M-E-T-H-O-D Man as his own unique kind of star. The beat was gutter enough for the streets but hooky enough for the radio, and Meth’s legend and image were cemented with that white contact lens in the video. —Stereo Williams

This track is the Def Jam origin story. The Bronx rapper’s sparse 808 kick and DJ-scratch-centered 12-inch debuted the label’s iconic logo, caught talent manager Russell Simmons’s attention, and inspired a 16-year-old LL Cool J to send his demo to the address he found on the LP sleeve, birthing a legacy. —Naima Cochrane

A turning point not just for rap locally but culturally, Licensed to Ill married rock and rap more organically than “Walk This Way” had done earlier in the year. MCA, Mike D, and Ad-Rock were a trio of white dudes from the then-lesser-loved Brooklyn borough who had punk in their blood but a natural sensibility for hip-hop — refined by Def Jam sensei Rick Rubin and the group’s first manager, Russell Simmons. Inspired by Motörhead, nights at the famed Flatiron club Danceteria, and more nights on the road, “No Sleep Till Brooklyn” was one of the earliest signs that rap could and would travel far but would always come home to New York. —Dee Lockett

Hip hop group, The Beastie Boys, at West 42nd street/Times Square subway station, New York, New York, November 27, 1986. Left to right: Michael Diamond (aka Mike D), Adam Horovitz (also known as Ad-Rock), and Adam Yauch (aka MCA, 1964-2012).
Photo: Michel Delsol/Getty Image/Getty Images

“Goddamn, that DJ made my day!” Run and D. M.C. do their thing with the rap-ification of fairy tales and fables, but “Peter Piper” is a Jam Master Jay master class. It’s hip-hop as the originators intended: two dynamic MCs volleying like a tennis match over a classic breakbeat as the DJ cuts and mixes it up. There it is. —Naima Cochrane

Retailer the Wiz, whose jingle Biz flipped for this hook, is all but forgotten. But this Marley Marl production spurred a family tree of samples — both track and lyrics — that reads like a list of hip-hop’s greats. “Just a Friend” is a fave, but this one features Biz’s famous beatbox, falsetto singing, plus an effortless flow with quotables for days. —Naima Cochrane

50 Cent’s entry into mainstream success came with the release of “Wanksta,” a song about fake gangstas who talk a lot but don’t back up their words. Originally on his 2002 mixtape No Mercy, No Fear, it blew up on the 8 Mile soundtrack later that year, and the single, produced by Sha Money XL and J-Praize, reached No. 13 on the Hot 100. It also delivered a new word to the hip-hop-culture lexicon. —Starr Rhett Rocque

Some songs just sound so indisputably 2002. Although Terror Squad’s “Lean Back” is often remembered as Fat Joe’s commercial crossover, its flirty, lighter predecessor “What’s Luv?” put Fat Joe on the map well beyond the Bronx two years earlier. But really, “What’s Luv?” is as much an Irv Gotti story as anything—a testament to the Queens label mogul’s correct call that most 2000s hip-hop hits were going to need some winning combo of Fat Joe, Ashanti, and Ja Rule. —Dee Lockett

When Nicki Minaj’s rap reign started, New York was “returning” with an unlikely leader. In true NYC theater-kid, golden-era-rap, ’80s-baby fashion, the MC subverted a nursery rhyme into a braggadocio, bar-filled banger. From her mixtape-era masterpiece Beam Me Up Scotty, “Itty Bitty Piggy” marked the start of Nicki’s decade of dominance and set the foundation for a new generation of hip-hop. —Ivie Ani

Nicki Minaj, 2009.
Photo: Angela Boatwright

In many ways, there’s rap before Rakim and hip-hop after him: The God MC’s internal rhyme schemes in the late ’80s showed new capabilities for lyricism. “I Ain’t No Joke,” the second single from his and Eric B.’s debut, Paid in Full, changed the way rappers would rap — and Eric B.’s precise scratches are as hip-hop as it gets. —William E. Ketchum III

In homage to underrated Queens rapper Royal Flush, the pair flip his “Worldwide” beat into a boastful paean to dope spots and strip joints. A local anthem prior to Chinx’s 2015 death, it cemented the Coke Boys, one of New York’s crucial rap movements, prompting a remix with Diddy and Rick Ross. —Gary Suarez

The ’90s ushered in both the rise of the South, which demanded acknowledgment of its contributions to hip-hop, and the emergence of the video vixen. It was only natural, then, that the Roc-A-Fella duo of Dame Dash and Jay-Z would extend an olive branch to UGK, one of the fastest-rising duos from Texas at the time, to collaborate on the biggest single of Jay-Z’s fourth album, Vol. 3… Life and Times of S. Carter. The song almost didn’t happen, however: Reluctant to collaborate with Jay, Pimp C didn’t submit his verse until the 11th hour, even delaying participating in his now-infamous music-video scene with Gloria Velez. (He ultimately had to film in Miami in lieu of Trinidad’s Carnival, the backdrop for the rest of the crew.) —Shamira Ibrahim

Labels didn’t believe a rap group made of distinctive solo acts could work. Collectives and crews who hopped on occasional posse cuts? Easy. A group of MCs with such different styles? Nah. “Protect Ya Neck” descended on hip-hop like the swarm of killer bees that Shaolin’s finest likened themselves to — jarring, noisy, a little scary, but fascinating to watch working together. —Naima Cochrane

Photo: Al Pereira/Michael Ochs Archives/Getty Images

vulture.com/_components/clay-paragraph/instances/ckf1gnf2w00363h7a9z5lhfis@published” data-word-count=”67″>Interpolating Willie Colón and the late legend Héctor Lavoe’s classic “El Día de Mi Suerte,” Big Pun gave New York a new anthem for the ages. More than the default soundtrack to the annual Puerto Rican Day Parade, it surfaced Pun’s dexterity in pumping out radio hits while channeling the pulse of the streets and showed the continuity of Latinx presence and influence in hip-hop. —Ivie Ani

If Reasonable Doubt is a movie, Jay and Mary’s collaboration serves as its opening credits. This is proto-bling-era mafioso rap, the street hustler graduated to big boss, and a story told in a private room while drinking premium liquor as ’80s soul plays in the background. A New York anthem in its own right. —Naima Cochrane

vulture.com/_components/clay-paragraph/instances/ckf1gnf2x003a3h7a69iz6prl@published” data-word-count=”66″>An uncredited producer on Boogie Down Productions’ Criminal Minded and a direct influence on the Bomb Squad’s Public Enemy work, Ced-Gee kept that same energy for his own crew’s music. As if that weren’t enough, this single introduced the world to the inimitable and individualistic cult rap icon Kool Keith, whose esoteric lyrical technique would serve him well in a lengthy underground solo career. —Gary Suarez

“Phone Tap” is mob business. Sinister, tense, and seriously paranoid — courtesy of some of Dr. Dre’s finest production — it’s the standout from the lone album by the short-lived (but recently sort of reunited) supergroup the Firm, which at one point included local legends Nas, Foxy Brown, AZ, and Cormega (the latter eventually replaced by Nature). Their eponymous 1997 debut was largely considered a flop for failing to coalesce, but “Phone Tap” remains one of the truest sounds of the New York underbelly, a conversation between Nas and AZ in which they attempt to plot undetected. (Spoiler: Dre’s on the line, foiling all their plans.) —Dee Lockett

A Tribe Called Quest at their most sublime, in a song that came to epitomize the legendary Queens crew. Phife Dawg and Q-Tip’s laid-back genius coasts over and permeates that perfect Ronnie Foster sample. Fun fact: Phife shared that Q-Tip came up with the mesmerizing beat in Phife’s grandmother’s basement. —Stereo Williams

The Native Tongues were a singular collective in hip-hop, and though their members’ respective acts were already established, the “Buddy” remix and video are the centerpiece of the Africa-medallion-wearing conscious consortium’s legacy. “Buddy” is more than a classic posse cut; it’s the visual representation of a movement. —Naima Cochrane

Salt-N-Pepa popped rap’s macho bubble the moment they entered the metaphorical ring. It was the first time a group of women had entered the mainstream as rappers — and they had a girl DJ in tow, also rare. Sugar Hill Records had previously tried to launch an all-girl rap trio, the Sequence, in the late ’70s, but that was a short-lived endeavor. “Push It” broke through during a time when only male rappers had begun dominating the charts. They were fierce and fearless but also sexy and feminine: They literally pushed the culture forward by delivering a new dance and new style possibilities with catsuits, lopsided bobs, and oversize leather bomber jackets, while showcasing that women could be viable hip-hop stars. “Push It” led to Salt-N-Pepa becoming the first female rap act — group or solo — to go platinum. —Starr Rhett Rocque

With one single and a comically bizarre video, N.O.R.E. not only established himself as a viable solo act after Capone-N-Noreaga but put the still-obscure Virginia production duo of Pharrell Williams and Chad Hugo, known as the Neptunes, on the map — gaining them the attention of none other than Michael Jackson. This song single-handedly created waves across genres, and Pharrell would go on to lay his fingerprints across some of pop culture’s biggest hits from Britney to Beyoncé, and more or less trademarked N.O.R.E.’s “what what!” catchphrase as a New York rap siren. —Shamira Ibrahim

In this highlight from their album Blacks’ Magic, Salt-N-Pepa tell straightforward stories about two women: one who feels empty after using sex to get what she wants, and another who has unprotected sex and thinks she’s safe from pregnancy but catches an STD. It’s all done with a melodic hook that’s as memorable as a song like their previous hit “Push It.” The trio don’t demonize sex, but they used their platform to educate and empower women — and their legacy is better for it. —William E. Ketchum III

“Welcome to the Party” was proof that Pop Smoke’s grind was starting to pay off, and it put Brooklyn drill on the map. The U.K.-grime-infused tune coupled with Smoke’s baritone and unconventional delivery captivated everyone from the streets of Brooklyn to the rest of the world. —Starr Rhett Rocque

Pop Smoke, whose real name was Bashar Jackson, in Brooklyn, Aug. 11, 2019.
Photo: Ryan Lowry/The New York Times/RYAN LOWRY/The New York Times/Re

vulture.com/_components/clay-paragraph/instances/ckf1gpbsf00403h7ab0hhm84s@published” data-word-count=”61″>Hearing the nursery-rhyme-esque lyrics “Engine engine No. 9 / On the New York transit line / If my train falls off the track” probably signals you to get in a crouched position and be prepared to spring up and shout, “Pick it up, pick it up, pick it up!” with all your might. That’s the power of this track, even 30 years later. —Naima Cochrane

It’s a dark, dramatic, and gripping narrative of a gangsta who meets his demise. One of the best story raps from an MC that still sets a standard, this classic theme song from 1992’s film Juice was one of the final high points for a duo that reinvented hip-hop over the course of four albums. The God MC at his absolute peak. —Stereo Williams

vulture.com/_components/clay-paragraph/instances/ckf1gpbsg00443h7askg51ps1@published” data-word-count=”131″>50 Cent was just coming off of his mixtape buzz when he delivered this stickup-kid anthem as his first single on Columbia Records. Under the tutelage of Jam Master Jay, 50 Cent was poised to be the next grimey sensation out of Queens. This hilarious ode to robbing celebrities, with the Madd Rapper (Deric Angelettie) on the hook and production by Trackmasters, gave us a preview of the trolling that was to come. In hip-hop, you never call anyone out unless you want beef, but 50 Cent’s bold (and humorous) name dropping reenergized the game and showed that there were still commercial rappers who weren’t too pop to play the game of the streets. Ironically, several of the rappers he called out eventually ended up working with him. —Starr Rhett Rocque

After the death of his brother DJ Subroc brought their rap group, KMD, to a tragic end, the rapper Zev Love X rebuilt his image in mourning and, in the process, spawned a hooded supervillain. Swapping out Gas Face for Metal Face, the comic-book-inspired persona acknowledges his past on the hook of this standout from Operation: Doomsday while laying waste to anything in his path on the verses. —Gary Suarez

A complementary and competitive exchange from two of hip-hop’s most skilled lyricists, “Brooklyn’s Finest” appears on Jay-Z’s debut album, Reasonable Doubt, and shows the then-rising rapper earning his spot next to a star. The MCs traded unwritten bars with a similar style of genius. —Ivie Ani

On the first single from The Low End Theory, Q-Tip and Phife Dawg reminisce about kicking rhymes and practicing their stage presence on Linden Boulevard in Jamaica, Queens. The casual, laid-back mood brings out the duo’s chemistry. Both are on point all the time, but Phife stands out with his memorable verse. —Eric Diep

Shortly before World War I, German sociologist Max Weber philosophized a three-component theory of social stratification recognizing wealth, power, and prestige as distinct, ideal types. Right before the new millennium, Lil’ Kim rapped, “Money, power, and respect,” laying out the three tenets of the rap game alongside Sheek Louch, Styles P, Jadakiss, and DMX. With Puff Daddy orchestrating their introduction to the world through Bad Boy, the LOX crafted a street anthem with top-of-the-charts mainstream crossover appeal. —Ivie Ani

In the three decades since Big Daddy Kane appeared, few, if any, rappers have managed to deploy such a gruff, guttural voice so nimbly. To this end, “Warm It Up, Kane,” from his marathon second LP, is in fact virtuosic but cool enough to seem entirely off the cuff. —Paul Thompson

Whether it was conventional B-boy posturing or being labeled as hippies, De La Soul hated being put into a box, and “Me, Myself and I,” their Funkadelic-sampling anthem of individuality, proved they were in a category of their own. In the music video, they portrayed students who refuted the rigidity of a classroom before walking out — a fitting analogy for one of hip-hop’s most experimental acts. —William E. Ketchum III

Revisiting the mic after years of producing bangers for the likes of Jadakiss and Nas, the artist formerly known as Mudfoot secured ruthless verses from Prodigy and Illa Ghee to sandwich his bars. He would work closely with the Mobb Deep MC for another decade, building an enviable street canon. —Gary Suarez

In many ways, LL Cool J was the first true rap star. As the face of the newly established Def Jam Recordings, he dripped with the bravado and brashness the genre was founded on. This song is a declaration of playing music loudly on his boombox, an early tone-setter for a city and a genre that made their mark by refusing to apologize. —William E. Ketchum III

“Get at Me Dog” dropped during a time in hip-hop when Diddy had taken over with shiny suits, designer labels, and popping bottles. DMX was a welcome antithesis with his gravelly voice and rugged flow unlike anything that had been heard in hip-hop until that point. His barks and growls added an extra layer of excitement. —Starr Rhett Rocque

Special Ed was still in high school when he wrote this song. The Flatbush representative’s blunt lyrics (“My name is Special Ed, and I’m a super-duper star / Every other month I get a brand-new car”), coupled with Howie Tee’s percussive production, created a classic tale of New York swag that still holds up. —Starr Rhett Rocque

With iconic Buckwild sampling production that still gets played out of car speakers during Harlem and Bronx summers, the assist from the legendary Diggin’ in the Crates Crew flipped François Valéry’s “Joy” to give Black Rob his biggest hit as a lead artist to date, filled with stream-of-consciousness ad hominems. —Shamira Ibrahim

A counterculture alternative to shiny-suit-era excess, Vast Aire and Vordul Mega gave voice to the open-mic cipher misfits who coalesced around venues like the Nuyorican Poets Cafe. Though it was featured on a Def Jux compilation ahead of an album, this track’s fortuitous placement on Tony Hawk’s Underground brought it ubiquity far beyond the five boroughs. —Gary Suarez

In the summer of 1980, Kurtis Blow’s second single was a massive hit: The first hip-hop song to go gold was instrumental in mainstreaming the genre. But just as telling is its creative DNA. While a clear outgrowth of rap’s roots in funk and disco, “The Breaks” also evokes the blues with tales of the IRS, sleazy adulterers, and those expensive phone calls to Brazil. —Paul Thompson

Junior M.A.F.I.A. was a hip-hop collective of young adults from Brooklyn who were brought together and molded by the visionary eye of the Notorious B.I.G. and made their own mark with their debut album Conspiracy. They also introduced the world to Lil’ Kim — a young woman with magnetism and a commanding flow that consistently placed her toe to toe with her male peers. Nowhere is that more evident than on “Get Money,” an enthralling duet with a counterpunch, timbre, and cadence that has her four-foot-11-inch frame at parity with one of the best storytellers in hip-hop history, Biggie himself. —Shamira Ibrahim

Photo: Chi Modu/CHI MODU

Rick Rubin flipped the Knack’s “My Sharona” for this Über-catchy single, one of the standouts in Run-D.M.C.’s oeuvre, from their multiplatinum smash Raising Hell. The video was a fixture on MTV, as Run and DMC make it clear that being rap superstars ain’t ever been easy. —Stereo Williams

This song sounds like riding the 3 train through Brooklyn in the early ’90s. Smif-N-Wessun had a knack for slipping in and out of patois, as they rapped over jazzy grooves courtesy of Da Beatminerz. The duo, comprised of Tek and Steele, christened Brooklyn with the nickname “Bucktown” as they kicked the gospel about gunplay and hardcore happenings from the home of the “originoo gunn clappaz” (that’s “original gun clappers,” but you have to say and spell it N.Y.-style) and painted a vivid description of street life in a rougher version of Brooklyn that existed before the hipster takeover, when Myrtle Avenue was known by locals as “Murder Avenue.” —Starr Rhett Rocque

In New York, your area code is just as fundamental to your hometown pride as any other locality marker. No one knows that better than Harlem-raised Azealia Banks, who wrote the hit in reference to Manhattan’s premier three digits while living on Dyckman. Banks burst onto the scene at the top of the decade as a boundary-breaking force, interpolating her skillful raps with beat structures emerging from ballroom culture — no one else does Hot 97 Summer Jam and Mermaid Ball in the same day — while sharing just a flash of the vocal dexterity that is part and parcel of her avant-garde sonic universe. —Shamira Ibrahim

Wu-Tang Clan weren’t exactly known for their songs about women, but they made a classic sex cut with this group effort for Raekwon’s seminal solo debut, Only Built 4 Cuban Linx... Rae, Ghostface Killah, and Cappadonna each spit their game at ladies as Method Man compares them to different ice-cream flavors, all over a characteristically sparse soundbed by RZA. —William E. Ketchum III

“Who Shot Ya” sounds exactly like a track that accidentally launched rap’s biggest feud between Biggie and Tupac. It’s dark, menacing magic. Biggie’s delivery is methodical, as each line hits with seemingly casual potency. Biggie has bigger tracks and more impressive lyrics, but this is him and producer Nashiem Myrick at their Brooklyn finest, with Puff at his ad-lib finest, elevating it to an anthemic level. —Naima Cochrane

Cam’ron’s 2002 Roc-A-Fella debut, Come Home With Me, introduced the Diplomats to the world. Harlem’s finest earned a Grammy nomination with the single “Oh Boy”— the song that was never supposed to exist. Cam’s hit over the stolen Just Blaze beat, originally made for Memphis Bleek, earned a No. 1 spot on the Hot R&B/Hip-Hop Songs chart for five weeks straight and a series of remixes by the likes of Mariah Carey and Jay-Z, whose recording contained a Nas diss that was infamously shelved. —Ivie Ani

Though not the first to fuse jazz and hip-hop, few before or after did so with such reverent respect for the source material. Anchored by late-’70s Jazz Messengers bassist Dennis Irwin’s groove, the trio’s rhymes propagated downtown cool with an Afrocentric aim. —Gary Suarez

When the burgeoning shiny-suit era had some hip-hop fans disenchanted in the late ’90s, the Black Star duo of Mos Def (known now as Yasiin Bey) and Talib Kweli (and their label home, Rawkus Records) represented a return to what made the art form so special in the first place: empowering, thoughtfully crafted rhymes and kinetic energy. —William E. Ketchum III

In 2004, hip-hop wrote off Ja Rule after 50 Cent’s assertions that he focused too much on sweet radio songs. So for the second single of his album R.U.L.E., Ja called on two of NYC’s most respected vets, Fat Joe and Jadakiss, for an anthem that referenced KRS-One’s 1990 song “100 Guns” while paying homage to the hard-core hip-hop that runs through the city’s veins. —William E. Ketchum III

Like most of Illmatic, the lyrics to “The World Is Yours” would look almost impossibly dense written down; on record, they breathe and bend and spring to life like nearly everything Nas made in that blessed early period. And though he was 20, he was already mining the past: the hook scratches in “It’s Yours,” T La Rock’s classic single from 1984. —Paul Thompson

“Ill Na Na” is a lightning-in-a-bottle moment in hip-hop. It’s like listening to a time capsule where Foxy — a spitfire out of Brooklyn who stunned the scene with her verse on LL Cool J’s “I Shot Ya (Remix)” as a teenager — and Lil’ Kim are still friends and collaborators, and women were going platinum off physical sales on their debut albums. A brazen Inga Marchand made her stamp, inverting misogynist tropes into husky, unapologetic rejoinders anchored by the closest approximation of a heartthrob in ’90s rap, Method Man. —Shamira Ibrahim

It sounds like walking the block on a windy night in the winter. G Rap is the father of NYC street rap, and no song captures the essence better. The legendary rhymer sets a blueprint for grimy storytelling, and the production set a standard for ’90s hard-core. —Stereo Williams

This track sounds like bubble coats, Avirex jackets, Polo Ranger boots, Timberland 40 Belows, and Dutch Masters. Black Moon made underground hip-hop that unintentionally found its way to the light thanks to Da Beatminerz’ grimy but smooth production on Enta da Stage. “I Got Cha Opin” was a brief walk down Boot Camp Clik’s shadowed sonic streets, an escorted journey to the darker side. —Naima Cochrane

This track is the foundation of storytelling in hip-hop, a casual tale of cops and robbers that could be placed in any of the five boroughs. In these four minutes with no chorus, a 17-year-old is pulled into a life of crime before facing the consequences. “The cops shot the kid / I still hear him scream,” Slick Rick says. —Eric Diep

Marley Marl and Big Daddy Kane worked magic in the studio, and this single may be their best work. It’s Kane in full laid-back mack-daddy mode but offering some of his most nimble rhymes. For an artist who always walked the line between romantic ladies’ man and rhyme animal, it’s his best showcase. —Stereo Williams

Jay-Z came out of the shadows of Jaz and Big Daddy Kane to boss up, forming his own label, Roc-A-Fella Records, in 1995 and releasing his layered debut, Reasonable Doubt, the following year. “Dead Presidents II” is the finest example of Hov’s early allure as a mafioso rapper who could create a gritty atmosphere in his pursuit of material possessions. —Eric Diep

It’s like a piercing siren announcing a coming crisis. Public Enemy has bigger songs, but no track is more quintessentially P.E. It summarizes everything great about the Bomb Squad, with Chuck D coming from a lower level and Flavor Flav riding shotgun. —Stereo Williams

The Alchemist beat, Jadakiss and Styles P’s back and forth, Eve on the remix. “We Gonna Make It” comes from the height of Ruff Ryders’ domination, serving up an iconic Jada opener: “Fuck the frail shit, ’cause when my coke come in / They gotta use the scale that they weigh the whales with.” White-linen music. —Eric Diep

You can’t talk about Busta Rhymes without talking about the music videos, and his visual for this single from his 1997 album When Disaster Strikes… is a masterpiece. Inspired by the song’s African-sounding drums, Busta and director Hype Williams pay homage to the Eddie Murphy film Coming to America with tribal glow paint and ornate décor. And Busta’s all-time-great dynamic flows and personality carry over in the speakers even when the TV is off. —William E. Ketchum III

“Quiet Storm” appeared on Mobb Deep’s Murda Muzik and the soundtrack for In Too Deep, but the remix is an all-time great. Havoc’s cavernous production is a perfect canvas for his and Prodigy’s crime bars, and Lil’ Kim spits one of her hardest, most no-nonsense verses ever. “My Brooklyn style speak for itself,” she righteously insists. —William E. Ketchum III

Mobb Deep, 1994.
Photo: Chi Modu

Rap owes a great debt to MC Lyte. Sure, Salt-N-Pepa normalized women who rap, specifically women who rap about sex, but Brooklyn’s own MC Lyte came marching at you from a rooftop overlooking the Manhattan Bridge, rapping about needing a “dude with a attitude” who’ll “smack it, lick it, swallow it up style,” dressed from head to toe exactly like one of the boys she’s trying to bed. Its superior swag and male-gazing set the standard for what women were “allowed” to rap about, and generations of New York rappers followed her lead (see: Nicki Minaj, Cardi B, Foxy Brown, Lil’ Kim). —Dee Lockett

Lost Boyz mastered the art of balancing grimy street appeal with infectious hooks, and they showcase their winning formula on this classic single. It’s pure Queens and one of the best examples of Mr. Cheeks’s charismatic flow and the always-inspired production of Easy Mo Bee. —Stereo Williams

Jaws works because you don’t see the shark right away. Similarly, “Dipset Anthem” is massive and propulsive, driven by the Heatmakerz and those two near-percussive verses by Juelz Santana. But it’s Cam’ron’s turn in the third verse — sly, playful, sinister as ever — that makes this one of the most iconic records of the early aughts. —Paul Thompson

When Cardi B used Kodak Black’s “No Flockin” flow for “Bodak Yellow,” her magnetic confidence gave the song the edge it needed to blow up. After beating out Lauryn Hill’s “Doo Wop (That Thing)” to have the longest-running No. 1 by a solo female rapper on the Hot 100, Cardi B signaled a new era for rap: one where there can be more than one female superstar at the top. —Eric Diep

Cardi B in attendance for iHeartMedia’s Power 105.1’s Powerhouse 2017 Concert, Barclays Center, Brooklyn, NY October 26, 2017.
Photo: Steven Ferdman/Everett Collection/Alamy/Alamy Stock Photo

His 1989 album Walking With a Panther was successful, but the Queens legend was accused of being out of touch in the era of Public Enemy and N.W.A. LL fired back with this Marley Marl–produced bomb, a declaration of dominance and creative focus as a new decade dawned. —Stereo Williams

Jay-Z vs. Nas was a legendary war of words. When Jay-Z dropped “Takeover” and Nas responded with “Ether” (which debuted on Hov’s birthday), the exchange marked two great MCs battling for New York supremacy. Nas’s attacks were personal, effectively hurting Jay’s ego. Thanks to Nas, since then no beef is considered won unless you “ether” your opponent. —Eric Diep

Producer Marley Marl assembled three of the best MCs in the game — Big Daddy Kane, Kool G Rap, and Craig G — along with newcomer Masta Ace for this mic battle royal. “The Symphony” established the Juice Crew’s dominance as a rap collective, but Marley created a new rap art form: the posse cut. —Naima Cochrane

Rakim has never wavered. When Marley Marl invited the precocious teenager into his home studio and suggested Rakim rap more animatedly, the young MC held firm, insisting that steely cool was his greatest asset. He was right: The title track from Paid in Full is a study in poise — and in the labyrinthine internal rhymes Rakim pioneered. —Paul Thompson

The jiggy era dealt in brain-freezing excess — from motorboat chase sequences in music videos to samples of disco hits that must have cost a small fortune. “It’s All About the Benjamins (Remix)” epitomizes this in its barrage of threats and big-money bragging and that clever Jackson 5 flip. It’ll light any tristate-area party on fire to this day. —Craig Jenkins

Roc-A-Fella’s Just Blaze was among the producers revolutionizing the sped-up soul samples that became popular in the aughts. The Diplomats’ debut album, Diplomatic Immunity, owned this sound, and “I Really Mean It” is Harlem’s rallying cry to rep your hood proudly, with Cam’ron’s opening shout-outs setting the tone for a powerful crew salute. —Eric Diep

Simple track, simple rhymes: the components of a foundational classic. The “Impeach the President” flip has remained a no-miss sample over the years, most notably with Mary J. Blige’s “Real Love.” The oft-repurposed formulation “___ is chillin’, ____ is chillin’” still delivers concise B-boy realness. —Naima Cochrane

Stepping out from Junior M.A.F.I.A. with the mentorship of the Notorious B.I.G., Kim sought to continue to subvert the expectations of women in rap with the unblushing, aggressive lyricism of her debut solo album, Hard Core. “Crush on You” made it clear that her role was not to follow a blueprint but to stencil a new template — joining forces with stylist Misa Hylton to pair her and Lil’ Cease’s lavishly bawdy verses with richly pigmented ensembles and visuals, down to the matching wigs. With one video, Kim melded street fashion with hip-hop on the mainstream stage. —Shamira Ibrahim

Lil’ Kim, 1996.
Photo: Carl Posey

Pop Smoke’s tragic death in February 2020 shook New York harder than his meteoric impact on the scene already had. His borderless Brooklyn drill sound became the fresh, defining music of New New York, and “Dior” was his most ubiquitous single (though amazingly not his only; see “Welcome to the Party” above). During a summer of national uprisings, it has become the city’s movement music, finding its way from dance floors to the protests’ front lines. —Ivie Ani

Rap’s preeminent love song started as a rougher, grimier product on Method Man’s Tical. By adding hip-hop’s Tammi Terrell in Mary J. Blige, mixes from both RZA and (then) Puff Daddy added softness to balance the edge, broadening the appeal from the slums to the suburbs and earning both Meth and Mary their first Grammys. —Naima Cochrane

Drawing upon his idiosyncratic “Protect Ya Neck” verse, Wu-Tang’s rowdiest MC unleashes his fury over a dissonant True Master beat. Rhyming “Midol” with “Lysol” for the first and probably only time in rap history, he created a haven for eccentrics in the city’s rap landscape for decades to come. —Gary Suarez

A timelessly winsome track that perfectly captures nostalgia: Pete Rock and CL Smooth dedicated this Tom Scott–sampling song to the late Trouble T Roy, celebrating family and friends, immortalizing their fallen comrade, and elevating the Mount Vernon duo to legend status. —Stereo Williams

Before Onyx, Queens representatives such as LL Cool J and even Run-D.M.C. were swaggy and cool. But then this group from South Jamaica came storming in with baggy jeans, Timberlands, and bald heads. Their mosh-pit energy, coupled with their frenetic, testosterone-fueled delivery, made everyone want to be a boy. —Starr Rhett Rocque

“Mass Appeal” sounds like you’ve made it to the final level of a video game and the big boss simply wishes you had some dignity. Guru was one of the most self-possessed rappers to ever touch a mic — here he famously touts his “monotone style” — and DJ Premier takes aim at the radio, bending its sounds into something richer, heavier, meaner. —Paul Thompson

Doug E. Fresh was already a name when he plucked a young Bronx-by-way-of-Britain rhymer named MC Ricky D to join his Get Fresh Crew. This 1985 single highlights their perfect chemistry and announced the storytelling talent of the MC soon-to-be-crowned Slick Rick. —Stereo Williams

There’s a sense in which “Déjà Vu (Uptown Baby)” is the commercial promise of hip-hop realized: Lord Tariq and Peter Gunz lift a Steely Dan song nearly wholesale, rap pridefully about how the Bronx can’t be fucked with, and end up with a top-ten hit. Although the duo broke up just a couple of years after the song’s release, it still signals the arrival of summer from open car windows. —Paul Thompson

Among the many gifts with which Christopher Rios, better known as Big Pun, blessed New York City, dropping the biggest Latinx hip-hop anthem of all time, addressing the Boricuas and Morenas with shout-outs and swagger, ranks highest. —Gary Suarez

In the late ’90s, Ruff Ryders established themselves as the direct opposite of Puff Daddy’s Bad Boy: They ditched the shiny suits for motorcycles, bandannas, and pit bulls. “Ruff Ryders’ Anthem” took that rugged aesthetic to a whole new level, as DMX spoke for the streets, creating a worldwide Double R dedication. —Eric Diep

After Cuban Link and Triple Seis departed from Terror Squad acrimoniously, the reconstituted Bronx squadron leaned into Fat Joe’s pop-rap pocket and pulled out a chart-topping Hot 100 smash. The distinctive beat from producer Scott Storch energized the city and did big things for the producer, who subsequently made hits for 50 Cent and Jadakiss. —Gary Suarez

Chuck D dissing Elvis and John Wayne, two American icons, coupled with Flavor Flav’s ad-libs and the frantic-yet-brilliant Bomb Squad production borrowing from James Brown, the Isley Brothers, and Syl Johnson, made a powerful statement: PE loved Black people and wanted to provoke a new generation of freedom fighters. They represented elements of their passion for the culture in the song’s sample choices, but also in the call out to “fight the power.” (Public Enemy also lifted that phrase from the Isley Brothers song of the same title.) Their classic was originally crafted as an anthem for Spike Lee’s Oscar-nominated film, Do the Right Thing (Lee also directed the Brooklyn-shot video). It was also featured on Public Enemy’s third studio album, Fear of a Black Planet, which came out the following year, and still resonates as one of the greatest protest anthems of all time. —Starr Rhett Rocque

Puff Daddy established his remix expertise at Uptown Records, but the formidable additions of label mate the Notorious B.I.G., upcoming rappers Rampage and Busta Rhymes, and OG LL Cool J to Craig Mack’s “Flava in Ya Ear” — showcased with Hype Williams’s now-iconic black-and-white visuals — turned remixes into an event, poised B.I.G. for launch, and handed a still-new Bad Boy the crown. —Naima Cochrane

This is peak NYC Golden Era hip-hop on what is one of the greatest posse cuts of all time. On “Scenario,” A Tribe Called Quest and Leaders of the New School deliver a dizzying array of lyrical acrobatics in a way that was still new to hip-hop at that time, showing new possibilities with flows and rhythms. Phife Dawg did what he does best by tossing in the obnoxiously sexual but clever line, “Bust a nut inside your eye to show you where I come from,” while Busta Rhymes set the world up for what his solo career would sound like with an animated verse complete with grunts and dragon roars blended into the rhymes, along with an oddball reference to “old stale urine.” Busta’s fiery flow, and cartoonish larger-than-life personality became the founding elements of fast-paced rapping as well as rap alter-egos — concepts later expanded on by the likes of Tech N9ne and also Nicki Minaj, who borrowed Busta’s dungeon dragon line for her own song, “Roman’s Revenge.” —Starr Rhett Rocque

There is no discussion of the art of rap without Roxanne Shanté and the notorious Roxanne Wars, which ran from 1984 to 1985. It’s the stuff of Queensbridge Houses lore: Not long into the infancy of rap, those who’d picked it up as a hobby swiftly and masterfully turned it into sport. As history (and the 2017 biopic Roxanne Roxanne) tells it, Brooklyn rap group UTFO put out a viral (by 1984 standards) song called “Roxanne, Roxanne,” which chastised a young woman named Roxanne for not giving them the time of day. Enter a then-14-year-old rap prodigy named Roxanne Shanté who’d overheard radio DJ Mr. Magic and Marley Marl gossiping about UTFO bailing on one of their gigs. So she volunteered to drag the group to hell and back using a sample of their own record. Famously freestyled and recorded in one take, “Roxanne’s Revenge” birthed a true culture war that inspired anywhere from 25 to 100 response records (including from UTFO and an artist they tried to pass off as “the Real Roxanne”) as word of the assassinating track spread through the boroughs. (You could say it invented rap’s diss economy.)

The track led to UTFO’s label, Select Records, copyright-claiming the sample — one of the earliest cases of rap getting litigious — and forcing Shanté to remove it (and her many expletives) from later releases. In one deadly line, Shanté turns the rap game on its head: “He said, ‘You call yourself an MC?’ I said, ‘This is true.’ He said, ‘Explain to me really what MCs must do.’ ” She follows it up with a rap clinic, one that godfathered “Ether,” “Takeover,” and every other feud on wax that gets more credit for doing what Roxanne did first. —Dee Lockett

Despite this song’s unapologetic violence and the Brownsville, Brooklyn, duo M.O.P. being the furthest thing from mainstream rap stars, “Ante Up” became ubiquitous: It has appeared or been sampled in films and TV shows, was adopted as superstar wrestler John Cena’s theme song, and even prompted a performance by Anna Kendrick on Ellen. Lil’ Fame and Billy Danze’s ode to armed robbery, with its shouted raps and frenetic alarm-sounding production by DR Period, packs an energy that continues to shake you long after its final note. Hip-hop is all about taking what’s yours, and no song in the genre embodies that spirit more. Extra points for the remix, which features equally urgent verses by Busta Rhymes, Remy Ma, and Teflon. —William E. Ketchum III

You can’t talk about defining beefs in hip-hop, period (especially in NYC rap), without mentioning these songs, and you definitely can’t talk about one without the other. Together, they set the precedent for lyrical beef in the culture. Regional pride in hip-hop always comes with a side of ego, so when MC Shan released “The Bridge,” produced by his cousin Marley Marl, in 1986, his point was to tell the world about where he was from: the notorious, sprawling Queensbridge Houses, an area that holds just as much stake in birthing hip-hop as the Bronx does. (It’s so big it could be its own small city, and is home to several rap legends like Roxanne Shanté, Marley Marl, Nas, Mobb Deep, and more.)

However, people in the city are territorial, and KRS-One, who hails from the South Bronx, vented his frustrations on “The Bridge is Over,” calling out MC Shan as well as several other members of the Juice Crew, and asserting his dominance. And that is how the Bridge Wars — the battle over who was the best between Boogie Down Productions and the Juice Crew — were born. (These aren’t the only songs that were part of the battle; MC Shan’s “Kill That Noise” and BDP’s “South Bronx” are two more examples out of over a dozen more.) The back and forth lasted until summer 1990, when BDP got the last word on “Black Man in Effect,” where KRS-One references how he’s not down with the Juice Crew. The Bridge Wars have long since been (mostly) squashed, but they live forever in hip-hop history books. —Starr Rhett Rocque

When you watch the video for Bobby Shmurda’s “Hot N- – – -” in 2020, it sounds and looks like it could’ve been released yesterday. The Brooklyn rapper, with his undeniable charisma and star power, was going viral in 2014 before Fivio Foreign made it hip to say that. As Shmurda finishes a lengthy seven-year sentence for gang conspiracy and gun charges, New York DJs have made sure he’s remained relevant. “Hot N- – – -” was influenced by Chicago drill and southern trap, with the kind of rhythmic and lyrical aggression typified by GS9, the East Flatbush gang Shmurda’s a part of. It’s a song that fits with the Brooklyn drill movement pulsing through the neighborhood streets right now: menacing and boisterous, taking it to the pavement instead of the high-rises. Long before TikTok existed, he famously had people making Vines tossing their own hats in the air and hitting the Shmoney Dance. Those clips remain a time capsule of Shmurda’s mainstream rise — a rapper who’d barely peaked before he went to prison (arguably thanks to the song in question), and whose return is one of rap’s most anticipated. —Eric Diep

Wu-Tang Clan is more than just the greatest rap group of all time; it’s virtually a belief system — and if that’s the case, “C.R.E.A.M.” is one of its mottos. The acronym stands for “Cash rules everything around me,” and it didn’t become lingo for money just because it rolls off the tongue. The brainchild of producer-rapper RZA came with a gritty, dungeon-dwelling sound and a crew of rappers who describe their lives of crime with candor, sharpness, and one of the most diverse assortments of personalities rap had ever seen. This song and the album Enter the Wu-Tang (36 Chambers) set the stage for a flood of street rappers from NYC to build on Wu-Tang’s successes, while the group itself would divide and conquer, creating solo stars before coming back together to continue its collective dominance. —William E. Ketchum III

The first full song from Nas’s 1994 album Illmatic shows why hip-hop saw him as the ’90s successor to ’80s architect Rakim. It was more than the intricate rhyme schemes and flows: His portrayal of his Queens housing project is visually vivid and physically palpable. While outsiders may associate NYC with the glitz of Times Square, Nas thinks of crime: shoot-outs with police, armed robberies in broad daylight, zombified drug addicts. A prodigious 20-year-old Nasir Jones dropped a different image or adage for survival (“I never sleep, ’cause sleep is the cousin of death”) in seemingly every line of his extended verses. DJ Premier’s beat, a grim soundbed with a lurking bass line, a haunting piano key, and a Rakim sample in its chorus, is an equally bleak match for Nas’s rhymes. It’s one of the earliest defining images of the NYC that rappers would chronicle for decades with both desperation to escape and pride for home. —William E. Ketchum III

NYC is the birthplace of hip-hop, but when Death Row Records was dropping record-breaking albums in the early ’90s, L.A. had the hot hand. As he’d say years later, the Notorious B.I.G. wanted “to sell records like Snoop” — and with “Juicy,” he made his mark. Before signing to Bad Boy Records, Brooklyn’s Christopher Wallace had sold drugs, his mama had cancer in her breast, and his first child was on the way. “Juicy,” the first single from his debut, Ready to Die, is hip-hop’s definitive declaration of the American Dream: Biggie’s perseverance through crime, unpaid bills, and disparaging teachers to achieve wealth and appreciation of his talents. As much as his own success, the song celebrated hip-hop’s arrival as an artistic and cultural force. And Sean “Diddy” Combs’s decision to use the vibrant sample from Mtume’s 1983 jam “Juicy Fruit” provided familiar, timeless warmth. “Juicy” peaked at No. 27 on the Billboard Hot 100, Ready to Die went double platinum a year after its release, and the song still captures rap at its most aspirational. Biggie was King of New York, and “Juicy” was his throne. —William E. Ketchum III

Co-produced by Sugar Hill’s in-house hitmaker Clifton “Jiggs” Chase, this was written by Melle Mel and another Sugar Hill mainstay, Duke Bootee, and would go on to become the definitive track of hip-hop’s first wave. It’s a vivid storytelling masterpiece that effectively captures the nervous energy of Reagan-era NYC streets.

If hip-hop has a “Johnny B. Goode,” this 1982 single has to be it. The rhythm guitar pulses throughout, and the bass-and-synth backdrop is immediately recognizable, and you’d be hard pressed to find someone who can’t finish the opening “Broken glass everywhere” bars. It lyrically channels a New York City still covered in some ’70s grit, while also sonically reaching for a distinctly ’80s sheen.

Grandmaster Flash and the Furious Five, from The Message photo shoot, 1981.

Sugar Hill Records released a number of indelible records and helped shape early hip-hop’s transition from the park to the studio. No song embodies that shift better than “The Message.” Co-produced by Sugar Hill’s in-house hitmaker Clifton “Jibbs” Chase, this hit was written by Melle Mel and another Sugar Hill mainstay, Duke Bootee, and would go on to become the definitive track of hip-hop’s first wave. It’s a vivid storytelling masterpiece that effectively captures the nervous energy of Reagan-era NYC streets. —Stereo Williams

Havoc was barely 20 years old, sitting alone at his mother’s apartment in the Queensbridge housing projects, reeling from the flop of his debut album, when he warped a piano line from Herbie Hancock’s “Jessica” to sound like it was beckoning the listener into hell. Every word uttered on “Shook Ones, Pt. II” would become iconic, from Prodigy’s opening ad-libs (“To all the killers and a hundred-dollar billers”) to Havoc’s desperate self-examination (“Do I deserve to live?”), from the warm hearts turned cold to the nose bones turned shiv. It’s a note-perfect mission statement for one of the genre’s greatest acts, referenced ad nauseam but never replicated.

The song transformed Mobb Deep’s career by doing what New York rap has done so grippingly since “The Message”: It throws floodlights into the city’s darkest corners, rendering them with unnerving detail and inimitable style. To say it’s rooted in one place would be a staggering understatement. “Shook Ones” is such a product of its environment that the hi-hats aren’t hi-hats at all, but rather the arthritic sounds of Queensbridge’s stove-top elements sparking to life. And as bone-chillingly grim as Mobb Deep’s music could be, it was also marked by neighborhood pride. “If I die,” Prodigy raps in the song’s opening verse, “I couldn’t choose a better location.” —Paul Thompson

*A version of this article appears in the September 14, 2020, issue of New York Magazine. Subscribe Now!

Source images (photo-illustration): KMazur/WireImage, Theo Wargo/WireImage, Dave Allocca/DMI/The LIFE Picture Collection via Getty Images, YouTube, ITV/Shutterstock, Jeff Kravitz/FilmMagic, Film Four/Lafayette/Kobal/Shutterstock, Al Pereira/Michael Ochs Archives/Getty Images, Neilson Barnard/Getty Images, Mike Pont/FilmMagic and Kevin Kane/WireImage

A 90,000 drill is … What is a drill?

90,000 what you need to know about the genre that Kizaru forbids Russian rappers to do

Born in Chicago, flourished in England, returned to Brooklyn and conquered the world thanks to Pop Smoke.

This is a translation of an almost encyclopedic material written for Complex by Eric Skelton about the origins of the drill, its main performers and the genre’s success in Brooklyn, about producers and popularizers, as well as the late Pop Smoke as the most unique and influential artist of the scene. The original version of the article is here.

Where the Drill came from and how it came back to the US via England

“Drill music originated from a culture of violence in Chicago.Drill is gangsta rap. It is no different from the late 80s NWA, “says DJ L, a Chicago-based producer who was directly involved in the creation of the drill along with Young Chop and other beatmakers.

The word” drill “in Chicago slang meant” kill. ” “) Is a subgenre, originally formed around a mentality, not a specific sound.” This music came from a gangster culture. Drill is the soundtrack of violence, street gangs and urban life, “said Chicago-based producer Chase Davis.

Since the 2010s, the Chicago Drill has had a vast impact on the industry. Even today, we can see a new generation of rappers and producers taking inspiration from Chief Keef and the rest of the Chicago scene.

One of Keefe’s imitators is a young London producer named AXL Beats. Like other UK beatmakers, he used elements of the Chicago sound and modified the style by adding the catchy and now famous “rolling bass”.The UK-drill itself developed in South London in the early to mid-2010s, when local producers experimented with local genres such as grime and garage in an attempt to tune them to the American sound. Over the years, rappers Headie One, DigDat, K-Trap, and Loski, as well as producers MK The Plug, M1 on the Beat, and Ghosty, have made their mark in the local arena by reimagining how their own drill can sound.

AXL says he did not attach much importance to the English drill scene and was guided by what was happening in Chicago.He calls himself a big Chief Keef fan and says that he listened to Fredo Santana, G Herbos, Young Pappy. But although he was inspired by the Chicago scene, his first American collaborator was found further east – in Brooklyn, New York.

In 2016, young Brooklyn rapper 22Gz found AXL Beats’ Hop Out drill type beat on YouTube. Inspired by production, he recorded the track “Suburban”, considered by many to be the most important track of the early days of the Brooklyn Drill. Its primitive and aggressive energy laid the foundation for what this subgenre will become in the future.

Realizing that he had found something special, 22Gz continued to use AXL beats – as did other rappers from Brooklyn’s Flatbush area, where he and Sheff G were from. First, at no cost. “At first I was constantly uploading beats to YouTube with titles and tags” drill beat “,” 22Gz type beat “,” Sheff G type beat “, explains AXL.

As AXL’s reputation grew, his mail and direct were torn apart by Brooklyn rappers eager to get their hands on his beats.He says he sent them a variety of instrumentals, but everyone only wanted drill beats. Nobody wanted to do trap anymore.

Suddenly, a young London producer is at the center of Brooklyn’s hot new scene. But none of his New York collaborators knew where he was from. “Nobody thought they were London beats. We thought AXL was from Brooklyn. This continued until I spoke to him on the phone and heard his accent,” says Jamel Robinson, a YouTube journalist Melz tv

New York-based radio host Funkmaster Flex says that while the drill’s musical sound was alien, the slang and language of New York immediately caught the eye.

He is echoed by Robinson: “Some people think it’s not lyrical, but they just don’t understand lingo, don’t understand slang. For those, it’s mumbling and babbling, but it’s a misconception. This is New York today and how it sounds.”

Depending on who you ask, you might get exactly the opposite answers about who started the Brooklyn Drill movement. But most would agree that 22Gz and Sheff G were the first to show its great potential.Following the success of 22Gz’s “Suburban”, Sheff G responded with “No Suburban”, which was also produced by AXL Beats. Nobody called it a Brooklyn drill back then, but something special started to happen.

Like the rappers who shaped the Chicago and English drill scenes, 22Gz, Sheff G and their peers have used the realities of the criminal cultures around them to create highly relevant, instinctive music that is deeply connected to their neighborhoods. And just like in Chicago, this whole scene was saturated with constant conflict and deep feuds inherent in rival factions.

The only difference was that the bits continued to come from London. AXL Beats wasn’t the only foreign beatmaker to help shape the new sound of Brooklyn: compatriots 808 Melo, Yoz Beats, Swirv and Yamaica were also eager to supply these dark yet energetic beats to New York City rappers.

808 Melo, London-based producer of one of the UK drills’ big hits – Headie One “Know Better” – contacted the Brooklyn scene thanks to Sheff G. Naturally, this happened via YouTube: Melo uploaded an instrumental called “Sheff G type beat” ; he heard it, downloaded and recorded the song “Panic Part 3” featuring Sleepy Hallow and Fresh G.

Peppy, hard and energetic beats 808 Melo caught the attention of the wildly confident 18-year-old rapper who was destined to become the biggest star of this subgenre.

How Pop Smoke became the new star of Brooklyn

In early 2018, Bashar Baraka Jackson felt the urge to become a rapper. And even before he called himself Pop Smoke or even just walked up to the microphone, he was already confident that he would become the most popular rapper in Brooklyn.

Robinson says that he recorded an interview with him when Pop Smoke did not have a single track yet, and explains this by the fact that he had a reputation on the streets, and also an amazing energy. Robinson thought the interview could go viral. The interview was filmed on the street near a pizzeria in his Canarsie neighborhood, Pop Smoke was standing with his Woo gang, and he had an electronic arrested bracelet on his leg. The video is short – at the end, the police arrive and disperse suspicious young people.

Robinson’s intuition did not disappoint – Pop Smoke was ready. There was little to do – to write songs.

He stumbled upon 808 Melo bits while listening to Sheff G on YouTube and heard “Panic Part 3”. He cut out the beat and remixed it under the name “GQ” (later released under the name “MPR”). If you listen to him today, it becomes noticeable that he found the style from the first time that soon turned him into a star. But first he needed more 808 Melo bits.

“He asked me for a beat, but I didn’t even know who he was.His e-mail didn’t even have the nickname “Pop Smoke”, so I had no idea who this guy was, “the producer recalls. But after 808 correspondence, Melo still threw off one beat to Smoke. He recorded the song” Welcome to the Party “- and it changed his life.

Speaking about the reasons for this success, Melo says that the drums on this track were danceable enough for the track to sound at parties – and admits that Pop Smoke” took it to another level “thanks to its snarling vocals.

“His voice was an instrument in itself, to which almost nothing else needs to be added to get a hit,” says Melo. “Deep vocals like 50 Cent, I haven’t heard that in rap since the early 2000s. Young guy with the voice of a grown man. And with my beats we made it mainstream. ”

AXL Beats thinks this track has changed the vibe of the Brooklyn scene – now drill is music that sounds as good at parties as it does on dark streets: …English or Chicago drill is really dark music about murder and crime. These aspects are also present in the New York drill, but here is a different vibe. It sounds at parties, people burst under it. They, of course, burst under the drills of the Chief Keefe, but there is a different energy. So drill went to another level and became mainstream. “

“Welcome to the Party” took over Brooklyn in the summer of 2019. It sounded everywhere: during the day it sounded from cars, at night – at parties, in clubs, bars.The city has a hymn.

Pop Smoke was on fire. And not only because he wrote the hottest song in Brooklyn, but also because there was a powerful person in the rap game behind him.

How Stephen Victor influenced Pop Smoke’s career

Stephen Victor is the music director who served as CEO of Kanye West’s GOOD Music label, senior vice president at Universal Music Group, head of A&R at Def Jam, and – the manager of Pusha-T.

At that time, he just opened his label Victor Victor and was looking for artists. As a New Yorker, he drew attention to the seething up-and-coming scene in Brooklyn, keeping a close eye on the likes of Sheff G and 22Gz. But when his partner Rico Beats told him about Pop Smoke, he realized that this guy could glorify drill outside of not only the city, but also the country. “Everything about him said he was a superstar,” Viktor recalls.

Victor signed Pop Smoke to himself and started work on making this music mainstream.One of the first steps was to bring 808 Melo from London to New York so that they first met in the studio and worked. Within a few weeks, the musicians were able to record enough material for Pop Smoke’s debut project “Meet the Woo”.

At that time, Pop Smoke was already in sight and had enough connections in the industry to recruit star guests for the album, but Victor’s plan was different.

“You don’t need any guest verses right now, and Melo has to work on production alone.This sound is gaining popularity in Brooklyn, and you can become its face. I see you as a superstar and I know you want to create your own sound. This means that your path may be longer, but this is the more correct path, “- said Victor when recording the mixtape.

It worked:” Meet the Woo “was a success, and the track” Dior “released on it became a hit. that Smoke is able to repeat the magic of his breakout track.

The rise of Pop Smoke has brought attention to the entire Brooklyn drill scene.That summer, Fivio Foreign’s “Big Drip”, produced by AXL Beats, became another big hit in Brooklyn, leading to Fivio’s signing with Columbia Records for a total of six zeros.

Drill’s future after Smoke’s murder

Pop Smoke was shot and killed on February 19 in a rented house in Los Angeles, where several criminals broke into at night.

“After that, New York hip-hop seemed to have paused,” Funk Flex shares his thoughts. And that pause was stretched out by the onset of the coronavirus pandemic, which hit New York harder than anywhere else in America: after all, the Brooklyn drill sounded best in crowded rooms with people dancing and shouting.

Victor, who released Pop Smoke’s posthumous album, believes that the future of the genre belongs to completely new artists: “It can’t be Drake or Migos, who already have their own style.” According to him, Smoke had the best chance to become the face of this genre on a global level. However, Victor is confident that the movement will not stop, and drill will develop into a strong subgenre that will exist side by side with trap. And he’s full of hopes to find his next big star.

What is a Pedal, definition of the term in the Ozhegov Dictionary

a car,

bicycle,

brake,

gas,

twist,

clutch,

go,

press,

leg,

car,

steering wheel,

press,

motorcycle,

wheel,

crush,

road,

auto,

piano,

pedals,

driver,

reap

speed,

human,

gas,

moped,

piano,

riding,

great,

traffic,

pressing,

legs,

control,

motor,

bus,

detail,

tractor,

transport,

far,

cyclist,

mechanism,

push,

floor,

chain,

gas pedal,

piano,

pressure,

lever arm,

engine,

race,

play,

button,

horse,

torsion,

medal,

the trip,

frame,

scooter,

Stop,

Technics,

to govern,

black,

brake pedal,

car,

motorcyclist,

audi,

chauffeur,

synthesizer,

carrion,

harp,

pianist,

machine,

driver,

rights,

truck,

traffic light,

key,

acceleration,

organist,

Taxi,

She pushed on the brake pedal with all her might and closed her eyes.

A.D. Prozorov, The Cursed Mustang, 2003

In other words, the steering wheel will be difficult to turn, and on the brake pedal will have to be pressed with noticeable force.

A. A. Gladkiy, Preparing for the exam in the traffic police.Comprehensive Guide, 2010

Feet are tired of turning pedals .

Tatiana Lebedeva, The route called “Adventure not according to plan”

If clutch pedal is pressed all the way, then the engine is disconnected from the transmission.

A. A. Gladkiy, Preparing for the exam in the traffic police. Comprehensive Guide, 2010

In this case, the car’s engine is disconnected from its driving wheels – just as with the clutch pedal fully depressed.

A.A. Gladky, Preparing for the exam in the traffic police. Comprehensive Guide, 2010

I could not sink the gas pedal to the floor, feeling the power of the engine, I did not feel a slight tremor of the car when the clutch was released smoothly.

N.D. Carr, In a glass cage. Automation and us, 2014

To pull it out of there, depress pedal and, turning the flywheel, put the fixing brackets on the basket.

Ilya Melnikov, Foreign cars. Operation, 2012

Leaving the brake, I pressed the gas, and the car jerked forward. Frightened by the movement, I let go of the gas pedal . The car stopped.

Irina Zavalishina, Black.White, 2011

She sat on a bicycle in jeans and a black T-shirt, one bare foot on pedals , and the other on the ground, squinting one eye from the sun and crunching a cucumber.

Vitaly Kovalev, Hurricane “Lolita”, 2012

I decided that the apartment was closer and pressed the gas pedal to failure, moving away.

Svetlana Denizhenko, Your deception is like the bitterness of wormwood …

Then start smoothly (but not too slowly or abruptly – these are other well-known mistakes of novice drivers) release the clutch pedal .

A.A. Smooth, Self-Tutorial for Safe Driving, 2010

Engine braking on a hill should be combined with gentle pressure on brake pedal .

A.A.Khannikov, Encyclopedia of a novice driver

After making sure that there was no one behind, I again pressed down the gas pedal .

M.S.Serova, Bulletproof vest for a tender heart, 2016

It’s like I’m looking at the pedal of a bicycle spinning non-stop again.

Igor Belov, Remember eternity

The harder the driver presses the accelerator pedal on the , the more fuel enters the engine cylinders, therefore, the more revs it develops.

A. A. Gladkiy, Preparing for the exam in the traffic police. Comprehensive Guide, 2010

Just like children, he remembered and pressed the right pedal .

O. I. Yolshin, Teia, 2010

When I saw that the left pedal was not given to failure, as expected, I sharply pressed it with my foot.

N. N. Ostroumov, From fighter pilot to aviation general. During the war years and in peacetime. 1936-1979, 2010

Well, no, archangels, I agree to survive only out of my mind, and even then in about sixty years. And I decisively pressed the gas pedal to the stop .

M.S. Serova, To the full extent

It’s about fifty kilometers from the country house to the city, the road is good and empty, so I press the gas pedal to the floor and enjoy the speed.

Yulia Zakharova, If it weren’t for me … Fear your desires – they come true!

It seemed that he became completely happy when, sitting at the sewing machine and working with the foot pedal , he hummed something to himself.

Jannette Walls, Wild Horses. Every story has a beginning, 2009

I tried to trace how the handle and pedals controls move, how the actions of the arms and legs are combined.

I. N. Kozhedub, Unknown Kozhedub.Serving the Motherland !, 1949

Well, I didn’t have time to fight him and drag him inside, I see that he was reaching for the holster, I gave him between the eyes, and himself pedal to failure and into the sky.

D. V. Kupriyanov, Cruiser of the foggy sky, 2014

Having made this decision, I pressed on the gas pedal and rushed forward, hoping that I would still be lucky and I would find the still untouched bushes of wild currant.

M.S. Serova, Complete set of lies

Adjust the angle of the seat cushion so that it supports your legs and does not press on the pedals when depressing .

I. A. Lebedeva, Gymnastics behind the wheel, 2010

Rattling of the throttle position sensor contacts (with the ignition on) when you press the accelerator pedal sharply.

V.V. Volgin, Non-device diagnostics of malfunctions of cars, 2011

If it is necessary to suddenly brake and simultaneously disengage the clutch, it may happen that the left foot is pressed by with the brake pedal , one foot will catch on the other.

A.A. Khannikov, Encyclopedia of a novice driver

Sitting more comfortably in the saddle, she spun with pedals and drove out onto a wide track.

Evgeniy Krypt, Show weakness

Gripping the steering wheel, I began to rapidly rotate pedals , rushing along the path to the village.

Yaroslava Lazareva, Guest of the Full Moon

The fuel pedal actuator must be properly adjusted.

Ilya Melnikov, Foreign cars. Maintenance, 2012

This device converts the vehicle speed, engine load and the degree to which the accelerator pedal is pressed into hydraulic signals.

Ilya Melnikov, Foreign cars. Operation, 2012

She gave the money to the surprised gas station worker and pressed the starter pedal on . The car pulled away abruptly and rushed along the road.

E.S. Gardner, The Fidget Doll Case, 1958

Speed ​​control is carried out using pedals gas, clutch and brake (Fig. & 1.3).

A. A. Gladkiy, Self-Tutorial for Safe Driving, 2010

The release pedal obediently worked.

M. B. Baryatinsky, Tank Aces of the Second World War, 2011

And meanwhile, the rotation speed of pedals , if they are not equipped with a retainer, during such a ride makes you simply remove your feet from them.

B.V. Smirnitsky, How to teach a child to ride a bicycle, roller skates and swim, 2015

I thought my legs would fall off to twirl pedals , and my husband said that he had rewound all his hands.

A. N. Gromov, Powder box, 2016

If you continuously press the gas pedal , you will eventually break something, if you press the brake pedal all the time, the result will be the same.

Alex Lloyd, Healing Code. The quick cure that science has been looking for for centuries !, 2013

He turned on the ignition again, depressed on pedal and shifted to reverse.

Ruth Rendell, Psycho Murder

You press the pedal to the floor and realize that this is a real drive, it is unrealistically cool!

A.I. Tolkachev, Achievement of goals by 100%. Creating the life of your dreams, 2012

As soon as you feel the engine rpm drop, add throttle and continue to release the clutch pedal .

A. A. Gladkiy, Self-Tutorial for Safe Driving, 2010

If at the same time they were allowed to twist pedals , she would not be so indignant.

Sofia Chaika, Last minute

The thought suggests itself, could it really have been impossible to make this pedal and a mirror in the driver’s cab – to monitor the filling of the stacker?

N.I. Arbuzova, Thin thread (collection), 2011

I stopped spinning pedals , even the thought of moving became unpleasant to me.

Valery Mit, Variants, 2015

Feet themselves groped pedals clutch and gas, hands grabbed the steering wheel, a fog arose in his eyes from a feeling of complete bliss.

Alina Kuskova, Rules of motion to the wedding, 2007

And the more indirect they are, the less similar the activity in the test (such as rowing or rotating pedals of the ergometer) to the sports activity of the tested person.

Roman Aniskin, Body Engineers

I installed two pairs of bicycle pedals , and at the stern a drill, where instead of a drill – a steamer propeller.

V. B. Gusev, Treasures of the old church, 1999

First of all, this applies to gas and clutch pedals : after all, they are the ones that the driver manipulates at the beginning of the movement.

A. A. Gladkiy, Self-Tutorial for Safe Driving, 2010

He pulled the control stick with all his might and worked on pedals.

Evgeniy Polishchuk, “Akhtung! Pokryshkin is in the air! ” “Stalin’s Falcon” No. 1, 2014

When driving through a bend in the road, the driver entered a turn and decided to slow down – he threw the accelerator pedal and began to slow down.

A. Yu. Kaminsky, 100 ways to avoid an accident. Special course for drivers of category B

It seemed like hours passed when a strained groan caused her foot to slide off the pedal of the sewing machine.

Charlotte Phillips, Sweet Cure for Insomnia, 2014

90,000 404 – Document not found

Philological Olympiad: results of the full-time stage (11.05.21)
From 19 to 25 April, the final stage of the Philological Olympiad “Yuniy Slovesnik” took place, which was organized in full-time format at three sites: in Omsk, Simferopol and Domodedovo. The final stage was attended by 197 schoolchildren from 24 regions of Russia. …

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WE CONDUCT COMPREHENSIVE EXAMINATION FOR MIGRANTS

News

We invite applicants to a meeting with teachers and graduates of the directions “Journalism” and “Philology” (10.06.21)
On June 17, at 15:30, a meeting with applicants for the “Journalism” direction will take place on the Zoom platform, at which the head of the department, teachers and graduates will talk about the specifics of the educational process and extracurricular activities.
On June 23, at 11:00, the Zoom platform will host a meeting of applicants for the Philology direction with alumni and special guests who will tell in detail about the fascinating and multifaceted profession of a philologist. …

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Press secretary required (18.06.21)
The Ministry of Natural Resources and Ecology of the Omsk Region needs a press secretary. Qualification requirements: higher education in one of the following areas of training: “Philology”, “Library and information activities”, “Journalism”, “Advertising and public relations”. …

Acceptance of applications for participation in the Rhetorical tournament (05/12/21)
The collection of applications for the rhetorical tournament “We are what we say, write, post”, which will be held at the faculty on May 26, begins….

Online lectures by Bulgarian philologists (08.05.21)
On May 13, at 15.00 Omsk time, online lectures will be held by teachers working at the Bulgarian language department of the Faculty of Philology of South-West University “Neofit Rilski” …
The final stage of the Philological Olympiad “Yuniy Slovesnik”, which took place in full-time format, has come to an end.