Lil' Kim: Hardcore

Terry Sawyer

Lil' Kim


Label: Atlantic
US Release Date: 1996-11-12

Finding a favorite CD for an emotionally extreme ADD music junky like myself is only slightly better than asking me which one of my friends a terrorist should kill first (though I've been keeping careful rank of my loved ones on my trusty dusty "good versus evil" abacus). Since music has always been my way to soak up time and place, my favorite CD would have to be the one most pound-cake dense with memories over the ones I might listen to most or the ones I'd want to list to show my arcane intimacy with the canon of unknown music.

The winner of that prize less honor is Lil' Kim's Hardcore. Right about the time I exorcised the demonic love of my life, I decided to purge almost everything I owned and start over in Texas. For someone whose music collection looked like a mid-sized record convention, this was a huge (and very ill advised) expression of my desire for a slate sans graffiti. In the future, I'll just take Hatha Yoga and make up new nicknames for myself instead (e.g. Rocko, Melpy, Kicker) . At the time, the only CD I kept was Lil' Kim because it was one of the few CDs untainted by my ex; since he loathed her potty mouthed abandon and turbo whoredom. But it wasn't only its lack of spiritual stains; my best friend and I would cruise through the city pumping out the Queen Bee and cat calling men like we were teamsters. It certainly didn't hurt that the whole album is a heavy panting aria to the unadulterated glee of having an ego like a downed power line. Whether or not I believed it, I couldn't help entertain the notion that I could suck dick like a pro, rock Prada, and play dem cats for fools.

Track for track, Hardcore's thuggette-auctioneering flow melds the perfect hybrid of yoni power Mafioso and Park Avenue duchess. When this album dropped in 1996, women were still relatively buried in hip-hop, confined to pop-crossover or consciousness raising, both of which translate into no credibility and no listeners respectively. While fairly blasé now, it was pretty exciting to hear Lil' Kim sport diamonds and pack an Uzi all the while demanding that a big dicked brutha know exactly where her clit was. It was almost as if Josephine Baker and Al Capone had raised their lovechild in the wild and then unleashed her on the rap world.

"Spend a Little Doe" begins with Lil' Kim greeting her recently paroled man at the door with a cocked shotgun and rolls into a thumping beat and piano riff underlying her laundry list of spurned diva insults. The swagger continues on "Drugs" where Lil' Kim compares her transcendental pussy to the ecstasy of illicit substances. Perhaps the crowning bruiser gem on the record is "Queen Bitch", where Kim spells out in bulleted rhythm exactly what kind of "by any means" bitch she is. Notorious B.I.G., the album's producer, pops up sporadically to fling in a chorus or, as is the case in "Queen Bitch" command Lil' Kim to "get off my dick, kick it bitch".

I'd be lying if I didn't mention that much of my love for this album stems from its squatting-over-your-face raunch. How many pop songs contain nakedly honest choruses like "Not Tonight's" anthemic "I don't want dick tonight -- eat my pussy right". Emceeing her own XXX slumber party in "Dreams", Lil' Kim spits a fuck pony wish list of rap and R&B gents over pelvic-thundering bass. Although one gets the impression that it's not so much a wish list as it is a series of reminders. In a music world where Love is smeared in the anodyne gloss of eyes on fire, hearts beating as one and perishable forevers, it was refreshing to hear someone break it down in the cold audacity of sex, drugs, and mad loot. It's not what I want every day of my life, but who can fault Lil' Kim's unwholesome declarations like the immortal quip in "Big Momma Thang": "take in the butt, yes, yes, what?!" Lil' Kim isn't asking for your sugar cereal approval and you shouldn't wait for her apologies. She's an empress of timber wolf sexuality and a dominatrix of cherry-picked decadence. Hardcore will leave you daydreaming to the sound of the entire chain gang working on your thang. This is urban poetry for the hungry, horny, and bold.

In one of the most beautiful summer's on record, I spent day after day with my best friend, lounging by the pool, eating like gremlins, and shrugging off the future with hard knock bravado. Hardcore provided the backdrop to my recovery from bad drugs and someone who most definitely gave love a bad name. Even now, whenever I'm feeling like an answerless chile, I just put Lil' Kim in the CD player and begin strutting and grabbing my cock like I'm a hot carnie. This is all mandatory, I assure you. After all, "I used to be scared of the dick, now I throw lips to the shit, handle it, like a real bitch".

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

Net Neutrality and the Music Ecosystem: Defending the Last Mile

Still from Whiplash (2014) (Photo by Daniel McFadden - © Courtesy of Sundance Institute) (IMDB)

"...when the history books get written about this era, they'll show that the music community recognized the potential impacts and were strong leaders." An interview with Kevin Erickson of Future of Music Coalition.

Last week, the musician Phil Elverum, a.k.a. Mount Eerie, celebrated the fact that his album A Crow Looked at Me had been ranked #3 on the New York Times' Best of 2017 list. You might expect that high praise from the prestigious newspaper would result in a significant spike in album sales. In a tweet, Elverum divulged that since making the list, he'd sold…six. Six copies.

Keep reading... Show less

Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

Keep reading... Show less

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.