Hard Core (Lil' Kim mixtape)
Hard Core is the third mixtape by American recording artist Lil' Kim, released on September 11, 2014 by I. R. S Records; the mixtape was first announced on July 26, 2013, had a release date of October 31, 2013, but was pushed back due to Jones' pregnancy. With fans suggesting that Kim create something Hard Core inspired, the idea to recreate the "movement" came from Kim's manager, Big Fendi. News of the project first began circulating on July 10, 2013 when Big Mike The Ruler, who hosted Kim's previous mixtape, Black Friday, tweeted that work was beginning on a new mixtape and for beats to be sent in Kim announced the mixtape, Hard Core 2K13, on July 26, 2013, along with the cover art. On September 11, 2013, Kim announced that the mixtape would be released on October 31, 2013. On the day of release it was announced by Kim's manager, Big Fendi, that the mixtape had been pushed back to November 29, 2013, due to work not being completed on an app, to accompany the mixtape; that same day, the track list was released.
The mixtape was pushed back again due to Kim's pregnancy and a new release date wasn't given until August 8, 2014 when it was announced that Hard Core 2K14 would be released on September 11, 2014. Kim choose to release the mixtape on September 11 as a way of remembering those who died in the September 11 attacks in 2001 and as a way of making those affected by the tragedy smile. A new cover was revealed on September 9, 2014, alluding to her debut album Hard Core from 1996; the cover pays homage to LL Cool J's 1989 album Walking with a Panther. Although they share the same name, Hard Core 2K14 was never intended to serve as a part two to her debut album, Hard Core. Kim only wanted to give listeners a "taste" of the original; the title was more to do with recapturing the feeling that you got when you listened to her debut, a feeling Kim called "cocaine raps". Kim felt that the lyrical content had a common feel with that of her debut, describing it as "heavy" and "sexual". On September 20, 2014, Kim performed at The Source's first annual SOURCE360 concert at Barclays Center Hard Core received negative reviews from critics.
A writer for XXL wrote "With the original Hard Core ranking with the best in the mafioso genre, Hard Core 2k14 plays more of a reminder of who Lil Kim once was."
Heavy hardcore is a subgenre of hardcore punk that incorporates more music elements of heavy metal than traditional hardcore punk. Heavy hardcore features aggressive vocals, down-tuned electric guitars, gang vocals, heavy breakdowns. Heavy hardcore bands tend to get labelled as "hardcore", causing the term "hardcore" to be a vague term because the term "hardcore" is used as a label on traditional hardcore punk, a genre played by bands like Minor Threat and Bad Brains. New York hardcore bands such as Agnostic Front, Sick of It All, the Cro-Mags and the thrash metal subgenre crossover thrash paved the way for heavy hardcore. Heavy hardcore emerged in the late 1980s and early 1990s with bands such as Killing Time and Sheer Terror. In the mid-to-late 1990s and early 2000s, many other heavy hardcore bands, such as Hatebreed, Shai Hulud, Strife, all became prominent heavy hardcore bands. Heavy hardcore bands such as Terror and Death Before Dishonor gained cult followings in the mid-to-late-2000s. Heavy hardcore is a genre of hardcore punk that features aggressive vocals, down-tuned electric guitars, gang vocals, blast beats, heavy breakdowns.
More heavy metal-influenced than traditional hardcore punk, heavy hardcore is influenced by thrash metal music and is sometimes influenced by hip hop music. Breakdowns in heavy hardcore tend to be staccato low-end musical breaks. According to writer Brian J. Kochan, heavy hardcore "embraces the mystique of the gritty and hard working class lives of those in America's big cities". Writer Kevin Warwick of Bandcamp described breakdowns in heavy hardcore as "thick palm-muted rhythmic guitar jogging alongside the clicking, pinpointed thrum of a double-kick pedal and quarter-notes on the crash". Punknews.org described heavy hardcore as "heavy breakdowns, growly vocals," and "the occasional metal riff". After the beginning wave of hardcore punk ended during the arrival of the 1990s, influences from different social movements and musical movements diversified the hardcore punk genre. A notable example is straight edge, a hardcore punk subculture in which involves avoiding alcohol and other recreational drugs.
Another notable example is youth crew, a music subculture of hardcore punk that emerged with bands such as Youth of Today and Chain of Strength. This helped make the heavy hardcore genre a notable genre of hardcore punk; the New York hardcore band Agnostic Front paved the way for heavy hardcore. Another New York hardcore band that paved the way for heavy hardcore is the Cro-Mags, whose album The Age of Quarrel, released in 1986, set the prototype for heavy hardcore. Other New York hardcore bands that paved the way for heavy hardcore include Warzone and Sick of It All. Crossover thrash, a genre with elements that were used by heavy hardcore band Madball to help launch the heavy hardcore genre paved the way for heavy hardcore. Examples of early crossover thrash bands are D. R. I. and Suicidal Tendencies. The New York hardcore band Killing Time is considered one of the earliest heavy hardcore bands. Killing Time released its debut album Brightside in 1989; the album has been compared to the heavy metal band Metallica.
During the late 1980s and early-to-mid-1990s, other heavy hardcore bands, such as Sheer Terror, Madball and Maximum Penalty emerged. Madball, one of the bands that helped launch the heavy hardcore genre with its crossover thrash-esque style, released its debut album Set It Off in 1994. Jason Anderson of AllMusic noted the album's "raw lyrics and thick guitar grooves". Sheer Terror used obvious heavy metal influences in its music, according to Eduardo Rivadavia of AllMusic, "staccato picking, slow-as-molasses power chords," and "double kick drums". According to Ryan Downey of AllMusic, Judge added "a thick, metallic guitar crunch to the by standard manic, angst-ridden, ragged neo-punk sound of the mid- to late-'80s underground hardcore scene." During the mid-to-late-1990s and early 2000s, the heavy hardcore genre was being played by more bands. Heavy hardcore bands such as Strife, Shai Hulud and Hatebreed, all became prominent heavy hardcore bands during this time. Strife became one of the most prominent bands of the late 1990s hardcore scene.
Bulldoze paved the way for many heavy hardcore bands Shai Hulud released its debut album Hearts Once Nourished with Hope and Compassion in 1997. In an AllMusic review for the album, writer Jason D. Taylor wrote: "Anyone half interested in finding out more about hardcore should get a copy of Hearts Once Nourished for a first lesson in'Hardcore 101.' " Taylor wrote: "While Shai Hulud may not have pioneered the genre, they deserve recognition for releasing one of the genre's most exquisite masterpieces." Hatebreed, one of the most famous bands from the heavy hardcore genre, released its debut album Satisfaction is the Death of Desire in 1997, which made Hatebreed one of the most prominent bands in the hardcore scene. The album sold at least 150,000 copies. Hatebreed moved to a metalcore style in 2002 with the band's album Perseverance, according to Nielsen SoundScan, sold at least nearly 220,000 copies in the United States. More bands that play heavy hardcore gained cult followings in the mid-to-late-2000s.
Examples include Death Before Dishonor. Heavy hardcore bands tend to get labelled as "hardcore", making "hardcore" a vague term because the term "hardcore" is used for traditional hardcore punk, a genre played by bands like Minor Threat and Bad Brains. In an interview with Alex Dunne of the hardcore punk band Crime in Stereo, Dunne said "there's two
Hardcore punk is a punk rock music genre and subculture that originated in the late 1970s. It is faster and more aggressive than other forms of punk rock, its roots can be traced to earlier punk scenes in San Francisco and Southern California which arose as a reaction against the still predominant hippie cultural climate of the time. It was inspired by New York punk rock and early proto-punk. New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger and subversive humor. Hardcore punk disavows commercialism, the established music industry and "anything similar to the characteristics of mainstream rock" and addresses social and political topics with "confrontational, politically-charged lyrics."Hardcore sprouted underground scenes across the United States in the early 1980s in Washington, D. C. New York, New Jersey, Boston—as well as in Australia and the United Kingdom. Hardcore has spawned the straight edge movement and its associated submovements and youth crew.
Hardcore was involved in the rise of the independent record labels in the 1980s and with the DIY ethics in underground music scenes. It has influenced various music genres that have experienced widespread commercial success, including alternative rock and thrash metal. While traditional hardcore has never experienced mainstream commercial success, some of its early pioneers have garnered appreciation over time. Black Flag's Damaged, Minutemen's Double Nickels on the Dime and Hüsker Dü's New Day Rising were included in Rolling Stone's list of The 500 Greatest Albums of All Time in 2003 and Dead Kennedys have seen one of their albums reach gold status over a period of 25 years. In 2011, Rolling Stone writer David Fricke placed Greg Ginn of Black Flag 99th place in his 100 Greatest Guitarists list. Although the music genre started in English-speaking western countries, notable hardcore scenes have existed in Italy, Japan and the Middle East. Steven Blush states that the Vancouver-based band D. O.
A.'s 1981 album, Hardcore'81 "...was where the genre got its name." This album helped to make people aware of the term "hardcore". Konstantin Butz states that while the origin of the expression "hardcore" "...cannot be ascribed to a specific place or time", the term is "...usually associated with the further evolution of California's L. A. Punk Rock scene". A September 1981 article by Tim Sommer shows the author applying the term to the "15 or so" punk bands gigging around the city at that time, which he considered a belated development relative to Los Angeles, San Francisco, Washington D. C. Hardcore historian Steven Blush said that the term "hardcore" is a reference to the sense of being "fed up" with the existing punk and new wave music. Blush states that the term refers to "an extreme: the absolute most Punk."Kelefa Sanneh states that the term "hardcore" referred to an attitude of "turning inwards" towards the scene and "ignoring broader society", all with the goal of achieving a sense of "shared purpose" and being part of a community.
Sanneh cites Agnostic Front's band member selection approach as an example of hardcore's emphasis on "scene citizenship". An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk", because "after all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics", the punk scene consisted only of people "completely dedicated to the DIY ethics". One definition of the genre is "a form of exceptionally harsh punk rock." Like the Oi! subgenre of the UK, hardcore punk can be considered an internal music reaction. Hardcore has been called a "...faster, meaner genre" of punk, a "stern refutation" of punk rock. Steven Blush states that though punk rock had an "unruly edge", "Reagan-era kids demanded something more primal and immediate, with speed and aggression as the starting point."According to one writer, "distressed by the'art'ificiality of much post-punk and the emasculated sellouts of new wave, hardcore sought to strengthen its core punk principles."
Lacking the art-school grace of post-punk, hardcore punk "favor low key visual aesthetic over extravagance and breaking with original punk rock song patterns." Hardcore "...disavows...synthetic technological effects... the recording industry." Around 1980, as punk became "moribund" and radio-friendly, angry "shorn-headed suburban teenagers" discarded new wave's artistic statements and pop music influences and created a new genre, for which there were no places to play, which forced the performers to create independent and DIY venues. Music writer Barney Hoskyns compared punk rock with hardcore and stated that hardcore was "younger and angrier, full of the pent up rage of dysfunctional Orange County adolescents" who were sick of their life in a "bland Republican" area. While the hardcore scene was young white males, both onstage and in the audience, there are notable exceptions, such as the all-African-American band Bad Brains and notable women such as Crass singer Joy de Vivre and Black Flag's second bassist, Kira Roessler.
Steven Blush states that Minor Threat's Ian MacKaye "set in motion a die-hard mindset that begat everything we now call Hardcore" with his "virulent anti- industry, anti-star, pro-scene exhortations." One of the important philosophies in the hardcore scene is authenticity. The
Permadeath or permanent death is a game mechanic in both tabletop games and video games in which player characters who lose all of their health are considered dead and cannot be used anymore. Depending on the situation, this could require the player to create a wholly new character to continue, or restart the game losing nearly all progress towards completion. Other terms include player death. Permadeath is contrary to games that allow the player to continue in some manner, such as their character respawning at a nearby checkpoint on "death", resurrection of their character by a magic item or spell, or being able to load and restore a saved game state to avoid the death situation; the mechanic is associated with both tabletop and computer-based role-playing games, is considered an essential element of the roguelike genre of video games. The implementation of permadeath can vary depending on the type of game. Most arcade games have permanent death, so the term is used in reference to role-playing games where it is less common.
Few single-player RPGs exhibit death, permanent, as most allow the player to load a saved game and continue from the stored position. The subgenre of roguelike games is an exception, where permadeath is a high-value factor of these games. While the player can save their state and continue at a time, the save file is erased or overwritten, preventing the player from restarting at that same state. Players can work around this by backing up save files, but this tactic, called "save scumming" is considered cheating; the use of the permadeath mechanic in roguelikes arose from the namesake of Rogue. Glenn Wichman and Michael Toy, the developers of the game did not have save capabilities, requiring players to finish the game in one session; when they did add a save feature, they found that players would reload a save file to obtain the best results, contrary to the game design—which they "wanted to make it realistic"—so they implemented code to wipe the save file on reloading to prevent this. This feature is retained in nearly all derivatives of Rogue as well as more recent "roguelike-like" titles like Spelunky and FTL: Faster Than Light.
Implementations of permadeath within roguelikes may vary widely. Casual forms of permanent death may allow players to retain money or items while introducing repercussions for failure; this can reduce the frustration associated with permanent death. More hardcore implementations delete. In some games, permanent death is an optional feature of higher difficulty levels. Extreme forms of permanent death may further punish players, such as The Castle Doctrine, which has the option of permanently banning users from servers upon death. Gamers may prefer to play games with permanent death for the excitement, the desire to test their skill or understanding of the game's mechanics, or out of boredom with standard game design; when their actions have repercussions, they must make more strategic and tactical decisions. At the same time, games using permanent death may encourage players to rely on emotional, intuitive or other non-deductive decision-making as they attempt, with less information, to minimize the risk to characters with which they have bonded.
Games using permanent death more simulate real life. Games with a strong narrative element avoid permanent death. Permadeath of individual characters can be a factor in party-based tactical role-playing games, including the X-COM series, the Fire Emblem series, Darkest Dungeon. In these games, the player manages a roster of characters and controls their actions in turn-based battles while building their attributes and skills, specializations over time. If these characters fall in combat, the character is considered dead for the remainder of the game, it is possible to return to a previous save game state in these games before the death of the character, but requiring the player to repeat the battle to continue, risking the loss of the same or other characters. Some games require an optional permadeath mode to be turned on to provide a more difficult challenge to the player associated with earning additional achievements. For example, Egosoft's space combat simulator X3: Terran Conflict and its expansion pack X3: Albion Prelude each have a small number of Steam achievements that require playing in "Dead-Is-Dead" mode, while Paradox Development Studio's grand strategy titles Crusader Kings II, Europa Universalis IV, Hearts of Iron IV, Stellaris all require "Ironman" mode to earn any achievements.
Each of these cases require an unmodded game as well as a sustained connection to a central server, a momentary connection loss costs the playthrough its ability to earn achievements. Doom has a difficulty setting called "Ultra Nightmare" that, once the player dies, ends their playthrough and forces the player to restart the game from the beginning. Permanent death in multiplayer video games is controversial. Due to player desires and the resulting market forces involved, MMORPGs and other multiplayer-focused RPGs feature permanent death. Speaking, there is little support in multiplayer culture for permanent death. Summarizing academic Richard Bartle's comments on player distaste for permadeath, Engadget characterized fans of MMORPGs as horrified by the concept. For games that charge an ongoing fee to play, permanent death may drive players away, creating a financial disincentive to include permanent death. Diablo II, Diablo III, Minecraft and Torchlight II are mainstream exceptions that include support for an optional "hardcore" mode that subjects characters to permane
Construction aggregate, or "aggregate", is a broad category of coarse to medium grained particulate material used in construction, including sand, crushed stone, recycled concrete and geosynthetic aggregates. Aggregates are the most mined materials in the world. Aggregates are a component of composite materials such as asphalt concrete. Due to the high hydraulic conductivity value as compared to most soils, aggregates are used in drainage applications such as foundation and French drains, septic drain fields, retaining wall drains, roadside edge drains. Aggregates are used as base material under foundations and railroads. In other words, aggregates are used as a stable foundation or road/rail base with predictable, uniform properties, or as a low-cost extender that binds with more expensive cement or asphalt to form concrete. Preferred bituminous aggregate sizes for road construction are given in EN 13043 as d/D; the same classification sizing is used for larger armour stone sizes in EN 13383, EN 12620 for concrete aggregate, EN 13242 for base layers of road construction and EN 13450 for railway ballast.
The American Society for Testing and Materials publishes an exhaustive listing of specifications including ASTM D 692 and ASTM D 1073 for various construction aggregate products, which, by their individual design, are suitable for specific construction purposes. These products include specific types of coarse and fine aggregate designed for such uses as additives to asphalt and concrete mixes, as well as other construction uses. State transportation departments further refine aggregate material specifications in order to tailor aggregate use to the needs and available supply in their particular locations. Sources for these basic materials can be grouped into three main areas: Mining of mineral aggregate deposits, including sand and stone. In addition, there are some materials that are used as specialty lightweight aggregates: clay, pumice and vermiculite. People have used stone for foundations for thousands of years. Significant refinement of the production and use of aggregate occurred during the Roman Empire, which used aggregate to build its vast network of roads and aqueducts.
The invention of concrete, essential to architecture utilizing arches, created an immediate, permanent demand for construction aggregates. Vitruvius writes in De architectura: Economy denotes the proper management of materials and of site, as well as a thrifty balancing of cost and common sense in the construction of works; this will be observed if, in the first place, the architect does not demand things which cannot be found or made ready without great expense. For example: it is not everywhere that there is plenty of pit-sand, fir, clear fir, marble... Where there is no pit sand, we must use the kinds washed up by rivers or by the sea... and other problems we must solve in similar ways. The advent of modern blasting methods enabled the development of quarries, which are now used throughout the world, wherever competent bedrock deposits of aggregate quality exist. In many places, good limestone, marble or other quality stone bedrock deposits do not exist. In these areas, natural sand and gravel are mined for use as aggregate.
Where neither stone, nor sand and gravel, are available, construction demand is satisfied by shipping in aggregate by rail, barge or truck. Additionally, demand for aggregates can be satisfied through the use of slag and recycled concrete. However, the available tonnages and lesser quality of these materials prevent them from being a viable replacement for mined aggregates on a large scale. Large stone quarry and sand and gravel operations exist near all population centers due to the high cost of transportation relative to the low value of the product. Trucking aggregate more than 40 kilometers is uneconomical; these are capital-intensive operations, utilizing large earth-moving equipment, belt conveyors, machines designed for crushing and separating various sizes of aggregate, to create distinct product stockpiles. According to the USGS, 2006 U. S. crushed stone production was 1.72 billion tonnes valued at $13.8 billion, of which limestone was 1,080 million tonnes valued at $8.19 billion from 1,896 quarries, granite was 268 million tonnes valued at $2.59 billion from 378 quarries, traprock was 148 million tonnes valued at $1.04 billion from 355 quarries, the balance other kinds of stone from 729 quarries.
Limestone and granite are produced in large amounts as dimension stone. The great majority of crushed stone is moved by heavy truck from the quarry/plant to the first point of sale or use. According to the USGS, 2006 U. S. sand and gravel production was 1.32 billion tonnes valued at $8.54 billion, of which 264 million tonnes valued at $1.92 billion was used as concrete aggregates. The great majority of this was again moved by truck, instead of by electric train. Total U. S. aggregate demand by final market sector was 30%–35% for non-residential building, 25% for highways, 25% for housing. The largest-volume of recycled material used
Hardcore'81 is an album by the Canadian hardcore punk band D. O. A.. It is considered by some to be the first reference to the North American punk scene as hardcore. All songs written except for where noted. "D. O. A." – 1:38 "Unknown" – 2:30 "Slumlord" – 1:55 "Musical Interlude" – 0:22 "I Don't Give a Shit" – 1:21 "M. C. T. F. D." – 1:38 "Communication Breakdown" – 1:57 "001 Loser's Club" – 1:54 "Fucked Up Baby" – 1:27 "The Kenny Blister Song" – 0:16 "Smash the State" – 1:32 "My Old Man's A Bum/Bloodsucker Baby" – 1:41 "Waiting for You" – 0:45Some CD re-issues of Hardcore'81 include four bonus tracks from the EP Don't Turn Yer Back: General Strike – 3:36 Race Riot – 1:06 A Season in Hell – 2:34 Burn It Down – 2:34 Joey "Shithead" Keithley - lead guitar, lead vocals Dave Gregg - rhythm guitar, backing vocals Randy Rampage - bass, backing vocals Chuck Biscuits - drumsTracy Marks - acoustic piano on "Unknown" engineered the album
Hardcore wrestling is a form of professional wrestling where disqualifications, count-outs, all other different rules do not apply. Taking place in usual or unusual environments, hardcore wrestling matches allow the use of numerous items, including ladders, chairs, barbed wire, light tubes, baseball bats, golf clubs, axes, crowbars, wrenches and other improvised weapons used as foreign objects. Although hardcore wrestling is a staple of most wrestling promotions, where they are used at the climaxes of feuds, some promotions specialize in hardcore wrestling, with many matches performed in this manner. Hardcore wrestling was first acknowledged as a major wrestling style in Japan with promotions such as Frontier Martial-Arts Wrestling and W*ING, it became successful in America with Extreme Championship Wrestling. The World Wrestling Federation/Entertainment capitalized on the success and introduced the WWF Hardcore Championship in the 1990s; the WWF soon began to turn the matches into comedy skits, illustrating the ridiculousness they involved.
Hardcore contrasts with traditional mat-based wrestling, where solid technical skills are preferred over hardcore's stuntworks, sweat and severe shock value. As professional wrestling entered the mid 20th century and performers looked for ways to heighten audience excitement. Blood, while taboo, was found to be a significant draw, the advent of the now-cliché "no holds barred" match marked the beginning of what is now known as hardcore wrestling. Methods were devised for wrestlers to make themselves bleed purposefully as part of their performance. Wrestlers such as "Wild Bull" Curry, "Classy" Freddie Blassie, Dory Funk, Sr. and Giant Baba were among those who introduced the bloody brawling style which caught on in Japan and the American South. New match types were devised that resembled street fighting, such as matches which were held in a cage, Texas Deathmatches which incorporated weapons, Lights Out matches which were'unsanctioned' and took place after the rest of the scheduled card, once the house lights had been turned off to signify the end of the event.
The National Wrestling Alliance had Brass knuckles championships in the Texas and Florida territories, dating from the 1950s.. Brawling continued to grow in popularity in America through the 1960s, 1970s and 1980s; the Detroit territory was home to The Sheik, Abdullah the Butcher and Bobo Brazil, featured long, bloody brawls. The Puerto Rico territory featured Carlos Colón, The Invader and Abdullah, introduced fire as an element of violence; the Memphis territory featured Jerry Lawler, Terry Funk, Eddie Gilbert and Bill Dundee and introduced the empty arena match and fighting among the crowd into the concession stands, improvising attacks with whatever appliances could be found. More specialties such as ladder matches, scaffold matches and Dog Collar matches were introduced; the NWA instituted a World Brass Knuckles Championship, active in the Tennessee territory from 1978 to 1980. In 1989, Frontier Martial-Arts Wrestling was founded in Japan, the first promotion dedicated to the wild brawling style.
In the early 1990s, the Puerto Rican promoter Victor Quiñones arrived in Japan, being invited to FMW as the special manager. FMW escalated the violence to legitimately dangerous new levels, with barbed wire ropes, timed C4 explosives, exploding wire ropes, and'land mines', known as "deathmatch"; the federation featured many future North American stars, became popular worldwide. Soon after, in the United States, two independent promotions had brief but significant runs, serving as prototypes for Extreme Championship Wrestling; the Philadelphia-based Tri-State Wrestling Alliance held occasional supercards that featured big name stars among their own local talent, showcased wild bloody main event brawls with Abdullah the Butcher, The Sheik, Jesse James Sr. and others. The National Wrestling Federation was based in New York state. Both TWA and NWF featured Larry DC Drake, who engaged in a long blood feud; the two promotions ended about the same time, National Wrestling Alliance Eastern Championship Wrestling took their place, with many of the same wrestlers and venues.
Eddie Gilbert was the initial booker, was replaced a few months by Paul Heyman. After splitting off from the NWA, the company changed its name to Extreme Championship Wrestling, became the leading independent hardcore wrestling federation in North America. ECW coined the term'hardcore wrestling', but its usage there was different than it is used today. In ECW,'hardcore' referred to a strong work ethic, high levels of effort, dedication to the fans, lack of fluff or filler, their level of violence equaled that of the Japanese promotions. A new gimmick, breaking wooden tables, was introduced to ECW through nephew of The Sheik. Sabu had developed a gimmick of throwing himself through a propped-up table in Japan in order to entertain the crowd and get his character over as a wild and insane man, he started to put opponents through tables, a safe spot which looked and sounded devastating. He brought it with him to ECW; the table spot became a staple of ECW events, has become so commonplace that it is now incorporated into otherwise non-hardcore matches in every promotion.
In Japan, hardcore promotions sprang up around the country, including Wrestling International New Generations