Cussing. Boasting. Mummy: The sacred triptych of hip-hop. Chuck in some territorial posturing (our coast is better than your coast!), big name guest appearances and a video which jizzes a party-popper of misogyny all over MTV Base, and youâ€™ve got yourself a guaranteed rap banger. It really is as simple as that. Promise.
Reducing any genre down to a set of tropes is an inherently glib exercise, but hip-hop undeniably revels in its own caricature, with artists presenting a fictionalised bloating of their lifestyle that depicts consumerism as a synonym of success. Reflected not just in braggadocio lyricism, the hip-hop aesthetic has permeated throughout all aspects of popular culture to become a defining metric of successive generations. Whilst this may all sound a bit Newsnight Review, the evolution of hip-hop is a fascinating example of music borne from marginalised circumstances coming in time to redefine the broader cultural landscape. Simon Schama will be all over this one dayâ€¦
Now into its fifth decade, hip-hop shows no sign of middle-aged spread, with new blood perpetually revitalising the genre whilst their forefathers continue to offer support in terms of inspiration, tutorage and collaboration. Undoubtedly one of 2012â€™s most anticipated new-ish-comers is twenty-two-year-old Tyga; an LA-based rapper signed to Lil Wayneâ€™s Young Money imprint and benefitting from a slew of big name endorsements. Known to the DVLA as Michael Ray Nguyen-Stevenson, Tyga (pronounced Tiger) first piqued attention with single â€˜Coconut Juiceâ€™ in 2008, wherein he cannibalised Harry Nielson for a smiley hip-pop confection that drafted in cousin Travis McCoy from Gym Class Heroes to create a song which sounded, well, a bit like Gym Class Heroes.