Rocky Roads: The Crack Epidemic's Impact On Hip-Hop Music

ARTICLE Tamal of Carrying The Culture

When analyzing hip-hop music over the years, the narrative that is often shared is that “gangsta rap destroyed hip-hop” or “hip-hop was better before gangsta rap.” People often compare the fun, party-oriented music of the late ’70s and early ’80s to the violent, graphic imagery of the late ’80s and early ’90s and point the finger at artists like N.W.A—a group who usually shoulders the lion’s share of the blame. Fans correctly point out that much of rap music being promoted is about drugs and violence. And while this may indeed be true, gangsta rap didn't just randomly appear out of thin air (although it may seem like it). The crack epidemic that hit the streets of America in the ’80s would alter the landscape of hip-hop forever.

In the early days of rap music, the emphasis wasn't even on lyrical ability. Rappers rocked the mic with more of a “call and response” style, and their primary responsibility was to get the party going. Lyrics were fairly basic and repetitive, and to be completely honest, the DJ and B-Boy were actually the focal points of parties while the emcee was more in the background. Although some early songs like “The Message” had political undertones, most early rap tracks were about having fun. Songs like Spoonie Gee’s “Spoonie Is Back” and The Funky 4+1’s “Rappin’ and Rockin’ the House” had a lighthearted vibe to them. This was the norm in the late ’70s and early ’80s. However, by the end of the decade, the new norm for hip-hop music would be completely different.

In the early ’80s, crack cocaine hit urban neighborhoods in major cities like a plague. Due to its high cost ($100 a gram), powder cocaine was not readily available in these neighborhoods, as it was seen as more of an exclusive “rich man’s drug.” But now, a more potent form of the drug was on the streets for as little as $2 in some areas. Crack was also much more addictive than powdered coke, with reports of some users becoming hooked after the first try. Almost overnight, working-class neighborhoods turned into zombie conventions. Respectable citizens became instant addicts, and families were destroyed from the inside. From 1985 to 1986, cocaine-related incidents rose from 26,300 to 55,200—an increase of 110%. This crippled already struggling neighborhoods and created an underground economy that completely consumed communities. As dealers maneuvered for territory and fought for potential customers, the murder rate steadily rose, and once-quiet neighborhoods became war zones. Entire housing projects became military compounds, and numerous innocent lives were lost. This, in turn, led to mass incarceration of Black and Latino men at an unprecedented rate—three to four times that of their white suburban counterparts for powdered cocaine.

With crack being the catalyst for the decline of many inner-city neighborhoods throughout the country, it only makes sense that hip-hop, which was the music of the streets, would also change accordingly. While the fun-loving party sound of the early ’80s was still present, a shift had started to take place. Songs like Schoolly D’s “PSK” (considered the first gangsta track) and Ice-T’s “6 in the Morning” were early records that reflected crack’s negative influence on the community. Soon after, N.W.A would release the groundbreaking “Straight Outta Compton,” which completely flipped hip-hop on its head. Due to its violent content, the album was so controversial that the FBI sent the group a warning letter, and MTV even refused to play the title track. Other groups like Compton’s Most Wanted and Above the Law were making similar music, and the roots of gangsta rap had started to take hold.

Meanwhile, in the Bronx, Boogie Down Productions dropped “Criminal Minded,” a project that was unprecedented in its grittiness, as it was the first hip-hop album featuring artists holding guns on the cover. Tracks like “South Bronx” and “9mm Goes Bang” were a stark contrast to music being made by artists like Whodini or Kool Moe Dee. Around the same time, Queens rapper Kool G Rap was coming into his own as a “hardcore” emcee. In his 1995 interview with The Source, G Rap described getting caught up in selling crack at a young age and running the streets. His hit track “Road to the Riches” is semi-autobiographical in that vein. Considered the originator of “mafioso rap,” graphic imagery of drugs and violence became a signature of his rapid-fire rhyme style and inspired a whole legion of “hardcore” rappers that followed. Hip-hop culture would never be the same.

But the crack epidemic wasn’t just influencing the lyrical content—everything was changing. The beats and production became darker and harder. The music videos showed imagery that reflected the violently changing times. Images of police, guns, and jail all became commonplace—a big shift from the carefree early ’80s. Fashion changed as well, with more rappers taking on the look of the “dope boy.” It only made sense, though, as the urban landscape was shifting at a rapid pace.

It’s worth noting that the drug violence inspired groups like X-Clan, Public Enemy, Paris, Poor Righteous Teachers, and other conscious artists to create positive music about empowerment and uplifting communities. The “Stop the Violence” movement was a direct response to the drug violence happening on the East Coast. This music provided a welcome voice that spoke loudly about the impact of drug-related violence on the community. But it wasn’t loud enough to derail the changes that had already been set in motion.

By the time the ’90s had arrived, hip-hop had completely changed. A big part of this change was due to violence over the crack game. Widely considered one of the most violent eras, gang turf wars were routine in most major cities across the U.S. Unfortunately, drugs and violence didn’t come alone. Prostitution, home invasions, and property crimes all skyrocketed during this time. Some rappers, like Jay-Z and Raekwon, took the approach of glorifying the “hustler mentality” in songs like “Dead Presidents II” and “Incarcerated Scarfaces,” respectively. Some of the biggest names in hip-hop—like Wu-Tang Clan, Nas, Biggie, and Mobb Deep—all rhymed extensively about using and selling drugs and the corresponding violence that came with it. It’s worth noting that not all music glorified the crime that was a result of the crack epidemic. Some took the role of storytelling, like Scarface on “My Block” and KRS-One on “Love’s Gonna Gitcha.” Posdnuos of De La Soul famously said, “Gun control means using both hands in my land” on “Stakes Is High.” Tracks like this didn’t praise the drug game but instead shared its destruction from the lens of an observer. It didn’t matter if these rappers were selling drugs or not—this was their reality, and the impact on their neighborhoods and lives couldn’t be overstated. MC Eiht famously said, “If you ask me to make a song about peace, I’d say fuck you.” Whether the emcees were glorifying or storytelling, the end result was the same: crack and its rapid destruction of inner-city neighborhoods had changed the look, sound, and energy of hip-hop music.

While it certainly cannot be denied that hip-hop music originated from a fun, party-centric vibe in the early ’80s to one focused more on violence, drugs, and misogyny later in the decade, that shift cannot be pinned on one singular artist or group. The swift wave of violence and addiction that swept through Black and Latino neighborhoods due to the crack epidemic decimated entire families, buildings, and neighborhoods, as residents became drug addicts or dealers almost overnight. Not only is it inaccurate to act as if one group is the primary reason—it’s reckless and irresponsible.