In his new short story collection The Music Never Died (Verse Chorus Press), author Mark Swartz envisions alternate fates for artists who died young. While most of these “Tales from the Flipside” concern a single artist—Biggie, Jimi Hendrix, Amy Winehouse, Gram Parsons—this one presents a parallel universe where jazz and hip-hop artists are locked in a Cold War. Trumpeter Lee Morgan and DJ Jam Master Jay of Run-DMC represent A New Hope.
The Flipside is a cramped used record store beneath Times Square. Everything you’d ever want to hear is here, and then some. Albums are arranged alphabetically and divided by genre. Over the years, the territory occupied by any given genre expands or contracts. Rock splits into classic and punk. Hip-hop arises and quickly occupies a sizable expanse. Easy listening fades. Country shrinks and grows and shrinks again.
These fluctuations are the product of tastes and trends, as well as ineffable qualities like genius, romance, and myth. The dead, especially the young dead, loom large here.
Whom the gods love dies young, wrote Menander in ancient times, and hoo doggie, did the gods love them some jazz or what? And they sure must have had some special affection for hip-hop, too. Across the bay from Jazz Island stood the city-state of Hiphopabad, with the impregnable Thugz Mansion at its center.
Both nations exist in the Flipside, which maps exactly onto the record store that bears its name. The continental drift of genres across crates mirrors territorial skirmishes and international intrigue in their world. This is the unauthorized account of how Jam Master Jay claimed the Flipside crown and the part played by Lee Morgan in his ascension.