Book of Rhymes: the Poetics of Hip

0465003471_bradley 12/5/08 11:08 AM Page 157 FIVE Storytelling Here’s a little story that must be told, from beginning to end. —Common, “Book of Life” STORYTELLING DISTINGUISHES RAP from other forms of popular music. That isn’t to suggest that lyricists in other musical genres don’t tell captivating stories: anyone who’s ever heard the Eagles’ “Hotel California” or Don McLean’s “American Pie” or the Charlie Daniels Band’s “The Devil Went Down to Georgia” knows better than that. Rap isn’t even the first musical genre to tell a story to music in rapid phrases that are as close to speech as to song; that distinction belongs to oper- atic recitatives, which date from the seventeenth century. Rap’s difference from other genres is one of degree, not of kind. Rap just tells so many stories. Indeed, it’s difficult to identify a rap song that doesn’t tell some kind of story in rhyme. Storytelling highlights both the good and the bad in rap music and hip-hop culture. Advocates often cite rap’s stories 157 0465003471_bradley 12/5/08 11:08 AM Page 158 158 BOOK OF RHYMES as proof of the music’s truth-telling capacity, its prophetic voice for everyday people. Conversely, rap’s critics target storytelling, particularly the explicit tales of so-called gangsta rap, as a corrupting influence on our culture, celebrating the worst excesses of violence, misogyny, and commercialism. Most of rap’s stories are neither incisive social commen- taries nor thug fantasies. Like most stories throughout the history of human civilization, most of rap’s stories are occa- sions to imagine alternate realities. To hear rap’s storytelling at its best is to experience liberation from the constraints of everyday life, to be lost in the rhythm and the rhyme. Rap’s greatest storytellers are among the greatest storytellers alive, staying close to the tones of common speech even as they craft innovations on narrative form. Rap’s stories demand our attention not simply as entertainment, but as art. Whether it is Common weaving the classic hip-hop allegory “I Used to Love H.E.R.” or Nas inverting narrative chronology in “Rewind,” rap is an effective form for sophisticated narrative expression. Between the street life and the good life is a broad ex- panse of human experience. Rap has its screenwriters, mak- ing Hollywood blockbusters in rhyme with sharp cuts, vivid characters, and intricate plotlines. It has its investigative re- porters and conspiracy theorists, its biographers and mem- oirists, its True Crime authors and its mystery writers. It even has its comics and its sportswriters, its children’s authors and its spiritualists. It is high concept and low brow; it has literary hacks and bona fide masters. It has all of these and more, extending an oral tradition as fundamental to human experience, as ancient and as essential, as most anything we have. 0465003471_bradley 12/5/08 11:08 AM Page 159 Storytelling 159 Even so-called gangsta rap, which one of its originators, Ice-T, prefers to call “reality rap” for its gritty fidelity to the everyday struggles of pimps, hos, and hustlers, is more con- cerned with imagining possible realities rather than simply recording experiences. The fact is, rap’s realism is as much about telling stories as it is about telling truths. While “keep- ing it real” and “real talk” have become a part of rap’s code of ethics, reality’s importance to rap’s lyrical artistry is more complicated. Reality may carry considerable weight when it comes to an MC’s social capital, but it has less to do with the craft of writing great rhymes or telling good stories. In a 2006 interview, the Chicago-bred rapper Lupe Fiasco reflected upon the interrelatedness of storytelling, poetry, and rap. I come from a literary background, and I loved to tell stories. I remember freestyling stories, not in rhyme, by just coming up with things when I was a kid on the bus. But I couldn’t play an instrument, so I decided to take my storytelling mind and to apply it to rap, which seemed like a natural thing. So I practiced a lot and really tried to apply the techniques I’d learned from poetry—which, of course, is the predecessor of rap—and include new things. I’d add haikus and try all wild poetic things, and I knew I’d have something different and interesting to say. To tell a familiar narrative in a new way is the motivat- ing impulse behind a lot of rap storytelling. With a storyteller’s mind, rappers create poetic narratives with character and setting; conflict, climax, and resolution. They do all of this while rhyming many of their words, and usually in less than four minutes. Rap’s early years were filled with rhymed stories. Few hip-hop heads could forget Wonder Mike’s question from his 0465003471_bradley 12/5/08 11:08 AM Page 160 160 BOOK OF RHYMES last verse on “Rapper’s Delight”: “Have you ever went over to a friend’s house to eat / and the food just ain’t no good?” On the other end of the spectrum from the Sugar Hill Gang’s comic tone, Grandmaster Flash and the Furious Five’s “The Message” offers a powerful description of urban plight: “A child is born with no state of mind / blind to the ways of mankind.” Undoubtedly the most influential storyteller in rap history is the Ruler, Slick Rick. During rap’s first decade, Slick Rick helped establish the conventions that would define rap as a storytelling genre. Storytelling for him wasn’t just about entertainment; he understood the expressive power of a story well told: “Stories can teach, and stories can destroy, and stories can ease tensions,” he once observed. His best-known tales, love stories like “Mona Lisa,” cautionary tales like “Chil- dren’s Story,” and explicit stories like “Sleazy Gynecologist,” offer a primer of rap storytelling. Speaking of his classic album, The Great Adventures of Slick Rick, he recalls: “It was almost like a diary: ‘When I was nineteen, this is what happened and this is what I learned from it.’ It’s all just writing down life experiences as you go on. I just put them in rap form.” MCs like Slick Rick put their lives, real and imagined, in rap form. Rap stories can take up anything from a few bars to an entire song, or even multiple songs. They can be told by one rapper or by several. They can follow conventional narrative chronology or be presented backwards or in fragments. They can represent a kind of rap realism or they can be fash- ioned as a form of heightened reality through extended met- aphors or other nonliteral representations. At their best, they allow their listeners to inhabit other voices, other 0465003471_bradley 12/5/08 11:08 AM Page 161 Storytelling 161 selves, and in the process conceive new visions of possibility and freedom. Rappers face the same challenge as earlier poetic storytellers: Namely, how do you tell the story you want to tell the way you want to tell it while satisfying the audience’s expectation of rhyme? Rhyme, along with rhythm and wordplay, makes meaning in rap’s stories. Together, rap’s formal qualities shape narrative structure even as they are shaped to fit narrative. The most basic convention in rap storytelling is the ne- cessity of working within limitations, turning them to the MC’s specific purposes. On “Regiments of Steel” Chubb Rock rhymes that “Rap has developed in the Motherland by storytellers / of wisdom, no wonder we’re best sellers / The art was passed on from generation to generation / Developed in the mind, cause the rhyme.” The fact that rappers tell their stories in rhyme shapes their very development. Rhyme provides rap’s stories with their greatest formal constraint and their most valuable literary asset. Overdetermined rhymes are the bugaboo of narrative poetry; at the same time, rhyme skillfully rendered is rap’s most fundamental claim to art. Those who see no difference between a newspaper account of a crime and a rhyme about a crime fail to understand the process of artistic creation—the necessary act of imagination it takes to tell a story, any story, in verse. Rap shares most of the rest of its basic storytelling conventions with other narrative forms, poetic and otherwise. In a rap narrative, chronology usually moves from beginning to middle to end. It most often presents an initial situation 0465003471_bradley 12/5/08 11:08 AM Page 162 162 BOOK OF RHYMES followed by a sequence of events that leads to a change or reversal, culminating in a revelation of insight enabled by that reversal. It puts characters in relation to one another; for rap this usually means the first-person narrator in relation to oth- ers who sometimes are given voice as well—either through indirect quotation or through the introduction of another (or several other) MCs. Finally, it involves patterning of formal and thematic elements that support and extend the narrative action. All of these conventions are open to revision and even rejection. The one inviolate element of rap storytelling, however, is voice. Voice in storytelling is the governing authorial intelli- gence of a narrative. Voice would seem to be a given in rap: the MC and speaker’s voice are one and the same. We as- sume that MCs are rapping to us in their own voices and, as such, that what they say is true to their own experience.

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