![]() I had a lot of those moments where, as genius as someone is, there was some friction for me as a listener and a hip-hop lover to ask, “Is this love, too?” The creator in me, who’s borrowing from all of these creators, wanted to make sure that I honored them and I was honoring myself as well. There are even some lyrics that I like better, but I didn’t necessarily agree with their stance on the world. I was most concerned, though, about the intentionality with the language. ![]() It oscillated between the two, like anything that you’re creating. So you were also thinking about content as opposed to emotion? Making it lyrically coherent? I would be stuck in the current moment of that song. If I got stuck saying, “This is the lyric from this song that’s about this political, dangerous moment,” then I would not be able to find my way back to the love. To have a song that is that prominent, I wanted to make sure that no matter who you are or where you are, you will remember the whistle, you remember that “doo doo doo.” And you’re instantly placed in this beautiful nightscape where this love story begins to unfold.ĭid you want the lyrics to combine to create a larger meaning, or did you want each lyric to have its own meaning, or both? The song came out during a time when the West Coast and East Coast were beefing. We were all on the same page of having that first line give us a landscape and a sound that everybody knows, even if you hate the song. I’m one of those artists - specifically when I’m commissioned to do a piece - who thinks about it as not correct or right, but about it hitting the right note, conveying the scene without me having to explain it. I wanted to highlight it and pay homage to it.Ībsolutely. This tension is: Maybe we live, maybe we don’t. If some of it feels terse or violent, honestly, that feels like the most American thing about it - our romance in America is embroiled in this tension. And I wanted to show that love was a large part of all of that work. ![]() I wrote it with the intention of finding vulnerability and intimacy in a language that has been notably known for violence and destruction, and even the political stance of hip-hop. How would you describe the focus of the piece? Browne discussed bringing the poem together and what hip-hop meant to her. In an interview, which has been condensed and edited, Ms. They also made the experience interactive: By hovering over a lyric, a reader can hear a clip of the original song an annotation also appears, providing context on the track and its artist. Many of the lyrics were submitted by Times readers.Ī team of editors, designers and a photo editor brought the story alive online using archival photos of M.C.s, rappers and producers. The result is a love story in verse between a man and a woman who meet on a New York night, their tale told through found lyrics from 60 songs across five decades. Browne chose to create a cento poem - a piece composed of lines from different works - made of lyrics from hip-hop songs. To pay homage to the genre’s wide range of styles, Ms. Browne in 2022 on a Modern Love collaboration about Black love and knew immediately that she would be the perfect person to capture pieces of hip-hop’s essence. ![]() In the article’s introduction, Veronica Chambers, the lead editor on the piece, offered her thoughts on hip-hop’s evolution: “Rap music, at its core, has been a 50-year love affair with the English language,” she wrote. Browne, an author and the first-ever poet-in-residence at Lincoln Center, to write a love letter celebrating hip-hop’s long-lasting effect on culture and music. To mark the occasion, the Newsroom Projects and Initiatives team at The New York Times asked Mahogany L. This year marks the 50th anniversary of hip-hop, a genre of music that experiments, rebels and defies any single definition. These secondary cast members appear in green screen confessional segments and (for the most part) have the same amount of screen time and storyline focus as the show's main cast members.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together. The show features a sprawling supporting cast, with 52 people credited as "additional cast" or "featured" in the show's end credits. Over nine seasons, 33 people have appeared in the opening credits as leading cast members. Subsequent seasons expanded to include talent managers and producers, DJs and radio personalities, stylists, video vixens, glamour models and groupies. The first two seasons focus on the personal and professional struggles of four women, two of which are girlfriends of famous rappers, and two are aspiring recording artists. Love & Hip Hop: New York revolves around the everyday lives of women working in the male-dominated world of hip hop. ![]()
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