Hip Hop Lit: Hip Hop Music As An Urban Ballad
During the 1980s and early 1990s, urban fiction in print experienced a decline. However, one could make a cogent argument that urban tales simply moved from print to music, as hip hop music exploded in popularity, with harsh, gritty stories such as "The Message" and "Dopeman," set to a driving, strident drum-kit rhythm. Of course, for every emcee who signed a recording contract and made the airwaves, ten more amateurs plied the streets and local clubs, much like urban bards, griots or troubadours telling urban fiction in an informal, oral manner rather than in a neat, written form. One of the most famous emcees, Tupac Shakur, is sometimes called a ghetto prophet and is undeniably an author of urban fiction in lyrical form. Shakur also wrote a book of poetry called The Rose That Grew From Concrete.
Hip hop lit in print form, though, is thriving. Non-fiction books from players in the hip hop realm such as Russell Simmons, Kevin Liles, LL Cool J, and FUBU founder Daymond John are also filed in this genre. Carmen Bryant and Karrine Steffans have both written blockbuster books for this audience, as has shock jock Wendy Williams. Both Steffans and emcee 50 Cent had such success with their books that they were given their own imprints to usher in similar authors. 50 Cent's G-Unit Books adds legitimacy to a previously disregarded genre.
Read more about this topic: Urban Fiction
Famous quotes containing the words hip, hop, music, urban and/or ballad:
“Rituals are important. Nowadays it’s hip not to be married. I’m not interested in being hip.”
—John Lennon (1940–1980)
“I have tried being surreal, but my frogs hop right back into their realistic ponds.”
—Mason Cooley (b. 1927)
“Your remark that clams will lie quiet if music be played to them, was superfluous—entirely superfluous.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“The gay world that flourished in the half-century between 1890 and the beginning of the Second World War, a highly visible, remarkably complex, and continually changing gay male world, took shape in New York City.... It is not supposed to have existed.”
—George Chauncey, U.S. educator, author. Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940, p. 1, Basic Books (1994)
“During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.””
—Administration in the State of Texa, U.S. public relief program (1935-1943)