From its disputed pioneers Grandmaster Flash and the Furious Five, to the Sugar Hill Gang, and Afrika Bambaataa, Hip Hop has planted itself firmly in our culture. Sparked from a young generation’s cry out for an outlet from their disenfranchised existence on the streets of traditionally low income areas, Hip Hop made its way on the scene with a vengeance. It sought to expose a subculture of music that was plagued with social, economic, and political realities whose voice, until then, had largely gone unheard. Hip Hop in its early years was attributed to reducing widespread violence in inner city youth by providing other means of expression such as dance, mix, and rhyme. When thinking of its origins in the 70’s and early 80′s, one can’t help but to envision the live block parties that filled the streets of New York City with great music and “B-Boying” for entertainment. Last but not least, good old fashioned battling comes to mind as MCs took their shot at the mic, B-boy crews assumed their position on the pavement, and DJs alike took their place on the turntables to maintain or establish their crown as the dopest on the block.
In its earliest form, respect and bragging rights on a small scale were the goal. As time evolved and the subculture expanded, those goals transcended into exposure, record sales, and money. Battles between Nas and Jay-Z as well as Kanye West and 50-Cent sparked enough controversy to drive record sales and thus revenue. This was of the utmost importance at a time when the ultimate goal was not to achieve street credibility but to solidify one’s place on the charts.
With that in mind within the book industry evolved a subculture of sorts known as urban literature with its rawest most candid form being considered street literature. Similar to Hip Hop, street literature exploded on the scene as an outlet for authors to pen the harsh realities of street life including drugs, sex, and violence. It painted a very real picture that many could relate to. For those on the outside looking in, it provided a destination for them to embark upon. Although the characters are often fictional, their stories are not unheard of for those living them from day to day in the urban cities across the map. The genre has continued to fight its way into the literary world with many of its pioneers now breaking records on mainstream lists such as the New York Times Bestseller List. A rags to riches tale that somewhat mirrors that of the Hip Hop culture, the newest phenomenon in the literary world sparks many topics for consideration namely battles.
Hip Hop cannot be mentioned without battles. From the beginning of its existence battling was at its core. It hasn’t slowed its pace but instead its purpose and place in the culture has evolved over the years. In the book business it has also evolved battling of sorts in the forms of beefs between various authors, editors, and publishers alike. From every facet of the business has developed loosely defined groups consisting of the insiders and outsiders. Many have referred to it as the development of cliques. This behavior is not unnatural in humans but the question remains if it is has a place in the business.
When making the comparison these are a few of the questions that come to mind. As readers do you see Hip Hop battles and book beefs as being the same, or do you hold those in the literary field to a higher standard of excellence than their cohorts in the music business? Are battles critical to increasing sales and maintaining status in the literary world as it has proven to assist in the world of Hip Hop? One may naturally be afraid to admit that they feed into the negativity or drama between their favorites in the business. However, what is the end result when you see these rifts? Does it drive interest in the projects and thus make you head to Amazon to 1-Click or to your favorite retailer or vendor to pick up your copy? Does it drive traffic to their page to find out more about the beef or to keep up with the outcome or does this behavior drive you away?
I cannot count the number of times I have visited Facebook, Twitter, and various other social networks to be bombarded with the latest drama. In reader groups the subject was explored and the outcome was mixed. However, reports of new sales were made as others became privy to the information. Was it a result of the battle between opposing literary gurus or just a coincidence due to the fact that the reader may not have otherwise known about the author’s latest addition? This remains a question of great debate but sheds light on the topic of exposure. Often used as a tool to bring exposure to impeding projects, record executives often create battles between two artists in a similar fashion as street MCs did during their height. Historically, the number of sales increased as a result of that exposure as fans rushed to purchase in an effort to ensure their favorite MC won the battle. Does this behavior translate to the book business as well?
What do you think? Are beefs to the book industry what battles are to Hip Hop?
Happy Reading!
