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Nope, I still don't get hip-hop.
I got this as part of our Secret Santa project over at The True Meaning of Life forums from the guy I was Santa to. I do appreciate the chance to expand my horizons, but I don't think it really helped me to "get" hip-hop any more than I do already, which is to say not at all.
I think the reason I don't get hip-hop, or at least one of the reasons, is that I'm not lyrically focused. When I hear a song, the lyrics are not usually the first thing I catch on to. I like melodies and harmonies, interesting sounds and sound combinations, drumbeats, bass lines and so on. The vocal melody itself usually takes precedence over lyrics, so they have to be pretty powerful to catch me right from the beginning. Since hip-hop is more lyric-centered - it's basically poetry set to music - it's much harder for me to actually care enough to stick around and find out what the words are saying.
Which brings us to this book. Williams is a longtime fan of hip-hop and rap, though he's fallen out of love with its current materialistic, misogynistic incarnation, and in this book tells the story of finding a secret cache of coded hip-hop lines rolled up into a spray paint canister. The first part of the book is his "decoding" of the scrolls, which he swears are incredibly powerful and significant.
Unfortunately, more often than not poetry perishes on the printed page, and hip-hop is especially vulnerable to ink and paper's effects. It's a spoken art form, relying on the poet's sense of rhythm and rhyme to convey the message that he or she wants. Once you put it down in indelible ink, the rhythm and the rhymes are left up to the untrained reader - i.e. me - to figure out, and I'm not all that good at it.
If I were attending a live reading of these poems, I might find them powerful, moving and inspired. In fact, I went to Williams' web site and listened to a few tracks, and he does indeed have a nice speaking style, with a good sense of samples and rhythms to put underneath the words he's written. I would probably enjoy a live performance, or even a recorded one, much more. On paper, however, and in my inexpert hands, the words turn to dust.
Pity.
I got this as part of our Secret Santa project over at The True Meaning of Life forums from the guy I was Santa to. I do appreciate the chance to expand my horizons, but I don't think it really helped me to "get" hip-hop any more than I do already, which is to say not at all.
I think the reason I don't get hip-hop, or at least one of the reasons, is that I'm not lyrically focused. When I hear a song, the lyrics are not usually the first thing I catch on to. I like melodies and harmonies, interesting sounds and sound combinations, drumbeats, bass lines and so on. The vocal melody itself usually takes precedence over lyrics, so they have to be pretty powerful to catch me right from the beginning. Since hip-hop is more lyric-centered - it's basically poetry set to music - it's much harder for me to actually care enough to stick around and find out what the words are saying.
Which brings us to this book. Williams is a longtime fan of hip-hop and rap, though he's fallen out of love with its current materialistic, misogynistic incarnation, and in this book tells the story of finding a secret cache of coded hip-hop lines rolled up into a spray paint canister. The first part of the book is his "decoding" of the scrolls, which he swears are incredibly powerful and significant.
Unfortunately, more often than not poetry perishes on the printed page, and hip-hop is especially vulnerable to ink and paper's effects. It's a spoken art form, relying on the poet's sense of rhythm and rhyme to convey the message that he or she wants. Once you put it down in indelible ink, the rhythm and the rhymes are left up to the untrained reader - i.e. me - to figure out, and I'm not all that good at it.
If I were attending a live reading of these poems, I might find them powerful, moving and inspired. In fact, I went to Williams' web site and listened to a few tracks, and he does indeed have a nice speaking style, with a good sense of samples and rhythms to put underneath the words he's written. I would probably enjoy a live performance, or even a recorded one, much more. On paper, however, and in my inexpert hands, the words turn to dust.
Pity.