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GayHipHop (also known as Korare) is a channel where they make homosexual remak of popular songs. The clu, “Rubb' Off The Dick”, a parody of YBN Nahmir’s h song, “

Contents:

14 MORE OF THE MOST UNTENTNALLY GAY RAP LYRICS EVER

GAY (Rack Cy Remix) Lyrics: Intro: / Like I jt feel like s time for a Gay new Hip Hop Rapper / I am the Gay Hip Hop Rapper! / Hook: / Bch I’m Gay / Gay, Gay, Gay, Gay, Gay, Gay / Bch I’m Paid / Paid * gay rap rhymes *

[Intro]WahWah, wah, wah wahWahYo3, 2[Verse]I like fast, right my ass (Hehehe, heh!)I like right after I cut the grassBee I'm sweaty, I don't like girls named BettyI like men, named, CarltonI like when they black, 'e I get on my backAnd lift up my sack, and lick my ass crackI don't play them gam, I don't play them girlsI like when them boys rock my worldI'm om that Wtbank, I am a skankI like dick, I'll play, I'll fuck yo click'Cse I'll bend 'em over, the showerI'll do for only two dollars (Hehehe)I like when, they put me on my buttCall me a dirty, ltle slut'Cse we om that Wtbank, om the WtbankWe gay, on the Wtbank[Outro]Uh, uh, 3, 2, 1, end!How to Format Lyrics:Type out all lyrics, even repeatg song parts like the chosLyrics should be broken down to dividual lUse sectn hears above different song parts like [Verse], [Chos], etc.Use alics (<i>lyric</i>) and bold (<b>lyric</b>) to distguish between different volists the same song partIf you don’t unrstand a lyric, e [?]To learn more, check out our transcriptn gui or vis our transcribers fom. It's easy to pull one le om a homophobic tough-guy gangsta rapper that, on s own, mak him sound ravenoly gay. And we say that bee we're fuckg hard, not gay.

And I'm startg to thk that I'm a ltle b gay.

And now all my iends thk I'm gay. Everybody thks I'm gay.

AWAG BETTER MIC LYRICS"THE GAY RAP"

Explore list of Rap Songs Gay Remix. Disver mic. Rap Songs Gay Remix playlist. * gay rap rhymes *

Look guys, I'm not gay I've jt got really good taste.

THE BT GAY RAP SONGS

My Homie's Gay Lyrics: It's kd of awkward and I really shouldn't say sh / But my homie Booger's on some motherfuckg gay sh / And I need to fd a way to let him know we're still ol / He's jt * gay rap rhymes *

Turns out the lais thought that we were jt pretty gay. But I love the gay man, like you love a ltle sister. Gay rap.

Hip-hop is riddled wh many topics, many different voic, and se you didn't realize, some of the rhymers lacg tracks wh sick flows are openly gay.

GAY (RACK CY REMIX)NEKEHNOV. 23, 20181 VIEWER2 CONTRIBUTORSGAY (RACK CY REMIX) LYRICSINTRO:LIKE I JT FEEL LIKE S TIME FOR A GAY NEW HIP HOP RAPPERI AM THE GAY HIP HOP RAPPER!HOOK:BCH I’M GAYGAY, GAY, GAY, GAY, GAY, GAYBCH I’M PAIDPAID, PAID, PAID, PAID, PAID, PAIDBCH I SLAYSLAY, SLAY, SLAY, SLAY, SLAY, SLAYWATCH MENAE, NAE, NAE, NAE, NAE, NAEYASS!VERSE ONE:MY MONEY LONG MORE THAN SOME OF YA NIGGAS DICKSAND WHEN I WRE A RHYME ALL I DO IS WRE HSTHAT SH BE SWEET JT LIKE MY FUCKG SUGAR GRSIF YOU DON’T UNRSTAND THEN YOU A STUPID BCHTHEY BE PYG MY SWAG LIKE A POST WON’T FOLLOWCLAIM THEY A BOSS BCH BUT THEY WORK AT MCDONALDSTHIS NIGGA SUCKED A DAMN DICK NOW HE THKS HE’S A MOLAND ALL THE OTHER RAP NIGGAS I BE THE ONE THAT THEY IDOLI’VE BEEN A BAD BCH RIGHT HAND ON THE BIBLEAND THEY FOLLOW MY RAPS LIKE WAS THE GOSPELAND I READ THE HO MORE THAN A NOVELI’M ABOUT TO GRADUATE I PUT MY HAND ON MY TASSELCLAP MY ASS ON YOUR NIGGA DICK I DON’T GIVE A FUCKTHIS BCH HAD A FUCKG PROBLEM NOW THIS BCH WANTS TO HUGAND I BE THE CUT WH A GOON AND A THUGSO, I DARE A DUMB BCH TRY TO N UP E ON!YOU MIGHT ALSO LIKEHOOK:BCH I’M GAYGAY, GAY, GAY, GAY, GAY, GAYBCH I’M PAIDPAID, PAID, PAID, PAID, PAID, PAIDBCH I SLAYSLAY, SLAY, SLAY, SLAY, SLAY, SLAYWATCH MENAE, NAE, NAE, NAE, NAE, NAEYASS!VERSE TWO:LGHG AT THE HO THERE MY REAR VIEWEVERYTHG I DO THE BCHS THEY DO TOOWANT A FACE TO FACE LET ME GIVE YOU AN TERVIEWTHE BCHS WANT A CLUE BUT I AM NOT SOBY-DOOOUTF SUPER H YOU WANT TO ORR THATSLIM WAIST PRETTY FACE N’T PETE WH THATALL THIS ICE AROUND MY WRIST GRAB YOUR THERMOSTATAND WHEN I JUMP ON HIS DICK I DO THE ACROBATSTWO BRAIDS DOWN MY ASS THAT’S KANAKOLANGAYS N THE DAMN WORLD THAT SHOULD BE A SONGAND ALL THE FAKE ASS BCHS TRYNA TAG ALONGBUT IF GOT THAT SH FLOW I’M TAG ALONGI NEED MONEY I NEED SHTHROW THEM BANDS ON MY ASSTAKE YOUR NIGGA HOW BOUT THATWHERE YOU AT YOU TOOK A NAPI GOT THE JUICE HELLA CUTEY, I’M BAD TO THE BONETOLD THAT BCH LAST YEAR TAKE YOUR BROKE ASS HOMEHOOK:BCH I’M GAYGAY, GAY, GAY, GAY, GAY, GAYBCH I’M PAIDPAID, PAID, PAID, PAID, PAID, PAIDBCH I SLAYSLAY, SLAY, SLAY, SLAY, SLAY, SLAYWATCH MENAE, NAE, NAE, NAE, NAE, NAEYASS!EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUTHAVE THE SI SOP ON THIS SONG?SIGN UP AND DROP SOME KNOWLEDGESTART THE SONG BASK A QUTN ABOUT THIS SONGASK A QUTN *‌WHEN DID NEKEH RELEASE “GAY (RACK CY REMIX)”?WHO WROTE “GAY (RACK CY REMIX)” BY NEKEH?CREDSWRTEN BYNEKEHRELEASE DATENOVEMBER 23, 2018GAY (RACK CY REMIX) IS A REMIX OFRACK CY BY TYGATAGSRAPINSTMENTALNEW WAVETRAPFRETYLEREMIXQUEERREEXPAND COMMENTSADD A MENTSIGN UP AND DROP KNOWLEDGE ?GENI IS THE ULTIMATE SOURCE OF MIC KNOWLEDGE, CREATED BY SCHOLARS LIKE YOU WHO SHARE FACTS AND SIGHT ABOUT THE SONGS AND ARTISTS THEY LOVE.SIGN UPGENI IS THE WORLD’S BIGGT LLECTN OF SONG LYRICS AND MIL KNOWLEDGE

* gay rap rhymes *

So wh that, we're steppg to that very arena wh our breakdown of the Top 5 Five Gay Rap Songs.

- The Gay Rap Song. ” stands for (although we have a few ias) but what we do know is that this rapper is “real gay, suck a dick” and we love him.

EXPOSG HIP-HOP'S GAY SUBCULTURE

D. Mark Wilson, Post-Pomo Hip-Hop Homos: Hip-Hop Art, Gay Rappers, and Social Change, Social Jtice, Vol. 34, No. 1 (107), Art, Inty and Social Jtice (2007), pp. 117-140 * gay rap rhymes *

Hontly is always the bt policy and when to beg the “gay zone, ” this song nails . 4- WorldStarHipHop- Gay Teenagers Rappg about sex wh other boys.

RAP SONGS GAY REMIX

A lot of gay people say that they always knew they were gay when they were kids, and 's great that the kids know and are so open wh . Cazwell is openly gay se there was any nfn but when to “All Over Your Face, ” well, what exactly is all over your face n fact be open to terpretatn.

Intro:Like I jt feel like s time for a Gay new Hip Hop RapperI am the Gay Hip Hop Rapper!

Hook:Bch I’m GayGay, Gay, Gay, Gay, Gay, GayBch I’m PaidPaid, Paid, Paid, Paid, Paid, PaidBch I SlaySlay, Slay, Slay, Slay, Slay, SlayWatch MeNae, Nae, Nae, Nae, Nae, NaeYass!

'NO HOMO': THE MOST UNTENTNAL, GAY RAP LYRICS

Verse Two:Lghg at the ho there my rear viewEverythg I do the bchs they do tooWant a face to face let me give you an terviewThe bchs want a clue but I am not Soby-DooOutf super h you want to orr thatSlim waist pretty face n’t pete wh thatAll this ice around my wrist grab your thermostatAnd when I jump on his dick I do the acrobatsTwo braids down my ass that’s KanakolanGays n the damn world that should be a songAnd all the fake ass bchs tryna tag alongBut if got that sh flow I’m tag alongI need money I need shThrow them bands on my assTake your nigga how bout thatWhere you at you took a napI got the juice Hella cuteY, I’m bad to the boneTold that bch last year take your broke ass homeHook:Bch I’m GayGay, Gay, Gay, Gay, Gay, GayBch I’m PaidPaid, Paid, Paid, Paid, Paid, PaidBch I SlaySlay, Slay, Slay, Slay, Slay, SlayWatch MeNae, Nae, Nae, Nae, Nae, NaeYass!

However, if you listen closely, plenty of your favore rappers have dropped bars that uld easily be misnsted as homosexual Frdian slips of the, um, tongue. Now, we’re not sayg they are gay, but you never n tell. In a hood sweatshirt and baggy jeans, Terrance Dean don't give off "gay" on first sight—and he has worked hard to prent himself that way.

MY HOMIE’S GAYEFEMJAYON FULL BLOWN AIDS THE MOST POPULAR AND NTROVERSIAL SONG ON FULL BLOWN AIDS, THIS SONG IS TEND AS SATIRE. THE IA IS THAT EFEMJAY’S CHARACTER IS A TYPIL, “MACHO” U.S. MALE, RAISED … READ MORE 1 VIEWER193.3K VIEWS2 CONTRIBUTORSMY HOMIE’S GAY LYRICS[VERSE 1]IT'S KD OF AWKWARD AND I REALLY SHOULDN'T SAY SHBUT MY HOMIE BOOGER'S ON SOME MOTHERFUCKG GAY SHAND I NEED TO FD A WAY TO LET HIM KNOW WE'RE STILL OLHE'S JT OVERLY POLE TO TRY TO PH A GUY'S STOOLSO WHAT IF BALLS MAKE HIM DROOLAND HURTS EVERY TIME HE DROPS THE KIDS OFF AT THE POOLIT'S HIS PREROGATIVE TO PRACTICE HOMOSEXUALYBUT TAKG CKS UP THE ASS ULD END HIS FATALYAND I DON'T WANT TO SEE MY HOMIE'S SUALTYSO IF YOU'RE TO FUCKG DUS, YOU N'T DO SUALLYYOU GOTTA E A JIMMY HAT AND MAKE THAT SH A HABBUT I JT N'T BELIEVE THAT MY L'IL HOMIE IS A FAGGOTWORD TO RICHARD SIMMONSHE LIK BIG BUTTS, BUT HE DON'T LIKE WOMEN'SIN MALE FEL MATTER'S WHERE HIS SPERM BE SWIMM'BUT HE N'T FD EMPLOYMENT SO HIS ONLY JOB IS RIMM'[HOOK]1,2,3 MY LTLE HOMIE NAMED BOOGER D'SAN F.A.G. AND I THK YOU BETTER SEETHAT HE LIK TO BE TOPPED AND, HE N'T BE STOPPED WHENHE'S GOT A CK HIS MOUTH TIL THE LAST DROP ANDBOOGER, BOOGER D HE'S AN F.A.GUH BOOGER D, BOOGER D, WHAT THE FUCK DO YOU SEE?BOOGER D, BOOGER D, DO YOU HAVE HIV?B-B-B-BOOGER, BOOGER D, HOMOSEXUALYYOU MIGHT ALSO LIKE[VERSE 2]MY HOMIE'S GAY BUT I WANNA LET HIM KNOWTHAT I'M DOWN WH THE MOTHERFUCKG HO TO THE MODO HE LIKE UP THE ASS REAL FAST OR SLOW-MO?DO HE SHAVE HIS NUTSAC OR LET HIS PUB GO O?WHAT POSN DO HE PLAY, DO HE TCH OR PCH?CAN HE SUCK THE FUCKG CHROME OFF A TRAILER HCH?OR DO HE GIVE LAME HEAD LIKE TERRI SCHIAVO WOULD?DO HE FUCK W THE BOYS OM THE RIVAL HOOD?OR DO HE KEEP ON THE DOWN LOW, AND PLAY STRAIGHT?IS A PERSONAL CHOICE, OR WOULD HE SAY S FATE?FOR HIM TO WANT TO SUCK THE KERNELS OUT A FELLOW'S RN HOLEAND UP THE ASS TAKE A MOTHERFUCKG TELEPHONE POLEI WANNA TELL THE HOMO THAT I'M OL WH HIS LIFTYLEI'D EVEN LET HIM BABYS ME AND WIFE'S CHILDSCE WE GOT A GIRL, WE KNOW HE WOULDN'T MOLT HERBUT WHEN WE GOT HER HOME, WE'D HIV TT HER[HOOK][VERSE 3]MY HOMIE'S AS GAY AS THE DAY IS LONGBUT WHO THE FUCK AM I, TO SAY S WRONG?CUZ I GOT MY OWN VIC, SO WHO AM I TO JUDGEI KNEW HE LIKED THE GREEN BAY PACKERS, NOW I KNOW HE PACKS FUDGEWE WATCHED SUPERBOWL TOGETHERNOW I KNOW HE LIK HIS POOPER FULL, WHATEVERI DIDN'T KNOW THEN, WHY SHOULD I BE RG NOWBOOGER D PLANTS HIS SEED ON BARREN GROUNDIT'S NOT APPARENT HOW, I N TELL HIM I KNOWTHAT HE'S STILL MY HOM-IE, EVEN THOUGH HE'S HO-MOEVEN THOUGH HE'S TO FIST' WE STILL HAVE A ALNWHEN HE SAID HE LIKED SHRIMP' I THOUGHT HE MEANT FISH'WHEN HE SAID HE LIKED SNOWBALLS, SHOULD HAVE BEEN A CLUEBUT WHEN HE SAID HE LIKED SUCKG SHTY DICKS, I KNEWTHAT OF GAYNS, BOOGER D WAS THE EPOMENOW I'M FEELG JEALO E ALL THE YEARS HE NEVER H ON ME[HOOK]EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUT

When somebody asked if he was gay recently, he blurted out "no" whout even Dean is gog to have a hard time foolg anyone much longer. His new book, "Hidg Hip-Hop: On the Down Low the Entertament Indtry, " is a tale of life si Hollywood's secret gay subculture, and hip-hop's place wh that world. Though don't name nam, the memoir is a tailed (and graphic) acunt of down-low life, gay sex parti and secret societi, where some of hip-hop's major artists openly sleep wh men, only to go home to their wiv and girliends at night's end.

Sure, there's always a story kickg around about homosexualy and the mic dtry; mors have swirled around rappers sce the '70s and '80s. But acrdg to Dean, and a number of other dtry sirs, who's gay and who's straight (or rather, who is "down low"; DL brothers don't intify as "gay") is mon knowledge.

Hip-hop has a long history of homophobia, much of which is tied up wh the powerful black church.

GAYHIPHOP

("I remember the pastor at my church sayg 'Homosexualy is a s! Beg gay is nsired soft, sissy—a putdown that's won emcee battl for years.

Adds Tim'm Wt, an openly gay Bay Area rapper and activist, "Straightns is as cly affixed to skill hip-hop as the microphone. When filmmaker Byron Hurt asked Bta Rhym about homosexualy hip-hop for a 2006 documentary on the subject, the rapper was so offend he walked out—on mera. "The very nature of the hip-hop beast has homophobia imbedd , " says Fred Mwangaguhunga, the edor of, a black-foced celebry is why hip-hop's gay culture is so shroud silence, wh trite measur taken to keep that way.

(In 1998, when Hot 97 shock jock Wendy Williams hted that a major New York rapper was gay, she was booted om the statn. "As Dean pots out, the irony about gay rappers is that hip-hop was found on the notn of speakg tth; was the voice of an urban unrclass largely hidn om the mastream. "It was about beg real, " says Los Angel rapper Deadlee (real name Joseph Lee), who is openly gay—do-rag, tattoos, hardre lyrics and all.

BTA RHYM WALKED OUT OF AN INTERVIEW AFTER BEG QUTNED ABOUT GAY RAPPERS

But Deadlee is part of a growg movement of gay rappers who make up the world of "homohop, " a genre he hop will eventually cross over to the mastream. Wh more than 50 regnized homohop artists on the Web se, many are tourg at home and abroad.

WHAT RHYM WH GAY?GEɪGAY

"There's likely a gay unterpart to every 'brand' of hip-hop the mastream, " says Tim'm Wt, who is the founr of the Oakland-based gay rap group, Deep Dickollective.

*BEAR-MAGAZINE.COM* GAY RAP RHYMES

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grid-full-bleed grid-no-gap SplScreenContentHearMa-fNigKG daohZh"><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearTleBlock-sCMXE jActCi"><div data-ttid="ContentHearRubric"><div class="RubricWrapper-dKmCNX dZhWBL bric SplScreenContentHearRubric-cLHEJQ ildzkT"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/books"><span class="RubricName-fVtemz cLxcNi">Books</span></a></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearHed-lcUSuI iUEiRd NbxED dfelga">The Rul of Rhyme</h1><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SplScreenContentHearDek-emptdL iUEiRd wOnsu dJrDEb">Te rhym are marvels; a slant rhyme’s a s. Or is vice versa? Let the battle beg.</div><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl SplScreenContentHearByle-kvEhqE ejWxsm"><p class="ByleWrapper-jWHrLH bwbwth byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn lOLCm byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG uhfVi byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL brYZgj byle__name-lk button" href="/ntributors/adam-gopnik">Adam Gopnik</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2022-05-23T06:00:00-04:00" class="SplScreenContentHearPublishDate-bMGEVk gvRvVr">May 23, 2022</time><div class="SocialInsWrapper-hKMEXV ffgPVr social-ins social-ins--standard SplScreenContentHearSocialShare-gSVclr kUKgnn"><ul data-ttid="socialInslist" class="SocialInsList-cHVTIA ivmblD 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width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save Story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="A pie tie hoe and moe drawn on four sis of a paper." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">“A perfect rhyme n make a medcre le bright,” Stephen Sondheim mataed.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Alex Merto</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ 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class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">Rhyme thriv at both pol of lerature. It is the material of a greetg rd—“Ros are red / Vlets are blue / Sugar is sweet / And so are you”—and the high-tragic language of Race. Rhyme turns language to rual, and ruals tend to be eher levellg and egalarian, brgg different kds together to be brethren, as church, or exclive and exaltg, advancg a narrow set to elect stat, as clubs. Rhyme do both. In Shakpeare, n offer the primive force of ntatn, as when the wch ask, “When shall we three meet aga / In thunr, lightng, or ra?” And n also offer the lullg reassurance of stylized speech, as when Juliet tells Romeo, “Good night, good night. Partg is such sweet sorrow / That I shall say good night till be morrow.”</p><p class="paywall">Daniel Lev Becker’s new book, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">What’s Good</a>” (Cy Lights), argu that Amerin hip-hop, wrongly praised and put down as an “thentic” form of exprsn, a “street” idm, is both levellg and exaltg; has renewed the language of Amerin song by broang s rourc and sharpeng s ear. Rap, he tells , “serv, nsistently, ntagly, sometim spe of s own claims to the ntrary, as a livery mechanism for the most exhilaratg and crafty and spirg e of language ntemporary Amerin culture.” His terts are ls polil than athetic. He disapprov of those who would sist on “stmentalizg rap as a vector of socpolil sight whout also revellg and rejoicg s val sense of play.”</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Rhyme is, of urse, central to rap, and a key part of Lev Becker’s missn is to fend rap’s equent e of imperfect rhym as a superr form of “slantg” language. He studi a betiful le om Jay Electroni—“Life is like a dice game / One roll uld land you jail, or cuttg ke, blowg kiss the rice ra,” wh “rice ra” an image of a weddg he lls “sctively self-evint”; and urg to hear forced rhym as k to Jimi Hendrix’s distortn of not by his amp. Lev Becker nclus, “Rhyme is the most powerful, least cerebral way I know to tap to that strange attractn words close proximy exert on one another. . . . It’s rhetorilly means-jtifyg.” In place of straight “perfect rhyme,” which we associate wh Broadway-based pop mic, the rhym “fd the bld angl, the shortcuts, the secret overlaps, and e them, sometim, to build stunng mols of ventn and entente, spac where small disrds be to larger rolutns and we see, hear, how borg would be to live a perfect world where like belongs only wh like.”</p><p class="paywall">This is, as Lev Becker knows, a faiar romantic fense of the rough, the handma, the artisanal. What sounds to the stuffy like simple relsns—whether ’s Kanye Wt pairg “thirsty” wh “thirty” or Ey Dickson pairg “cmb” wh “home”—is the enliveng evince of ee men and women at work. It’s the human touch, an ia traceable to John Rk’s taste-changg chapter “The Nature of Gothic,” his 1853 book “The Ston of Venice”: the “barbarian” ornament of Veian Gothic was superr to the classil Palladian pediment showg the human hand at necsarily imperfect work. The lite asymmetry of the broken arch vdit humany agast the ang regulary of classil Gre-Roman archecture. Lev Becker sists that rap’s slant rhym are of the same sort: the sound of real speech, sneakg around the rner to prott the arranged marriag of perfect rhyme. “It’s not that perfect rhyme n’t acplish the same thgs,” he says, praisg a Tupac lyric (“And even as a crack fiend, Mama / You always was a black queen, Mama”), but that the imperfectn is what mak feel purposeful and personal. Off rhym, for Lev Becker, are “dazzlg their novelty and sublime their perishabily.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Yet two larger lguistic ntexts ame the choic. One is the impoverished rhymg rourc of English. Anyone who dips a toe versifitn starts to regnize the limed repertory of te rhym tumblg toward the listener: every “chance” a lyric will quickly spawn a “romance,” and then a “dance.” The srcy of rhyme English is illtrated by the fact that the word “srcy” self has no rhym. (Though you uld go the <a href=">Cole Porter</a> route and rhyme wh a playfully mis-strsed word pair: “There’s always such a sry srcy / of hont folks here our fair cy.”) By ntrast, the French word for srcy, <em>rareté</em>, has so many atic k that an English rhymter uld weep, wh <em>engagé</em>, <em>érté</em>, and <em>retardé</em> leadg the pack. In French, as other Romance languag, rhyme so easily that slks by our attentn on s way to speech. The slant rhymg that rap champns isn’t jt an ral performance of adjacency; ’s an ventive way of solvg the ancient problem of fdg rhym a language that don’t readily offer them.</p><p class="paywall">What English do lend self to is alleratn. In fact, that’s the root of English poetry; the olst of English epics, “Beowulf,” was wrten allerative, not rhymg, verse. Dickens lights —as wh the “melancholy mad elephants” that are a metaphor for machery “Hard Tim”—although has s vehement tractors, who nsir a cheap Cockney effect. Clive Jam chid Nabokov for puttg too much of (“moish mue” and the like) to his translatns of Phk. As Lev Becker se , part of the rourcefulns of rap prosody is that embrac extravagant alleratn. J-Live’s “MCee” produc an allerative spray wh s l: “More ncentratn on my nce might cloud your md / Controllg your movements pacly.”</p><p class="paywall">In a broar sense, rap remds that, before the chilly Augtan smoothns and le-bound rhyme of Pope emerged, there was a rich tradn of rhymg verse English that reads like rap <em>avant la lettre;</em> such vers were known as Skeltonics, named for John Skelton, who vented them at the turn of the sixteenth century. His specialty was two-beat l, explosive vulgary, and ee-form rhymg: “Tell you I will, / If that ye will / A-while be still, / Of a ely Jill / That dwelt on a hill: / She is somewhat sage / And well worn age: / For her visage / It would assuage / A man’s urage . . . Droopy and drowsy, / Scurvy and lowsy, / Her face all bowsy, / Comely crkled, / Wondroly wrkled.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">Ined, Allen Gsberg, no ls, saw a nnectn between the Skeltonic tradn and rap prosody almost upon rap’s earlit crossover appearanc, around 1980. Rap, this view, plugged to the olst and most natural of English rhythms. Freed om a narrow view of what verse is and do, was more richly touch wh all the rourc of the language.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Lev Becker’s implic pot is that Amerin lyrics n be broken to Straight and Te Rhymers, ptive to perfect soundalik, and Slant and Tumble Rhymers, rponsive to Amerin speech all s variety. It’s te that some Straight and Te Rhymers fd their ears offend by slant rhyme. One major Broadway wrer me away om the rap-based “Haton” dignant at L-Manuel Miranda’s rhyme of “untry” and “hungry” the now famo le “I’m jt like my untry / I’m young, scrappy, and hungry.”</p><p class="paywall">And yet, the realm of mid-century poetry, rhymters of eher mp were up agast the arid abstentns of high mornism. And perfect rhyme, particular, arrived to perfect the imperfect world; was a movement first surely igned the neteen-forti by the long, neoclassil poems of W. H. Aun, newly arrived Ameri.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">In Bra, Aun had been a masterly rhymer, havg wrten his “Letter to Lord Byron” (1937) a variant of the ottava rima of Byron’s “Don Juan,” but he had maly relegated rhyme to ic ocsns. In Ameri, particularly his wartime medatn “New Year Letter,” wrten Swiftian uplets, and the slightly later satiric masterpiece “Unr Which Lyre,” Aun ma rhyme ser whout lettg be solemn. The goal, shared pecially by people who had both wnsed the mad stctn of the war Europe and fallen love wh European culture, was to recuperate, on rmal Amerin terms, the herage of formal European manners.</p><p class="paywall">Turn the pag of an issue of this magaze om the neteen-fifti and you fd a remarkable tensy of rhymg light verse. Long banished to chidg middlebrow versifitn—the once well-known poet <a href=">Robert Hillyer</a> led a charge agast mornism by g rhyme as a polemil weapon—postwar rhyme beme a way of revigoratg mocratic pleasur. John Updike, who saw himself first as a light-verse wrer, argued the early neteen-sixti that, “by rhymg, language lls attentn to s own mechanil nature and reliev the reprented realy of serns.” Light verse, he sisted, “tends the th flame of formal magic and tempers the human darkns of realy wh the edy of human artifice.”</p><p class="paywall">Rhyme was heard, back then, not as the sound of le-bound bulwark culture but as the liberatg lghter of the human edy. “Perfect” rhyme was a form of dandyism, like tyg a te butterfly bow tie, and so beme somethg of a gay preoccupatn. Ned Rorem ed a gentle poem of Hillyer’s his ncert song “Early the Morng,” wh a surprisg perfect French rhyme of “ la” and “premier.” Rhyme urted strictur and absolut. “Both inti”—exact repetns of a strsed syllable—“and false rhym are ath on w,” <a href=">Stephen Sondheim</a> clared his own ttament. “A perfect rhyme n make a medcre le bright and a good one brilliant. . . . A perfect rhyme snaps the word, and wh the thought, vigoroly to place, renrg easily telligible; a near rhyme blurs .” Viewed isolatn, this is a parochial notn, sce the history of English verse shows a wonrfully wty tradn of near-rhyme. Nor has any ear ever been stopped for a send by, say, the Beatl’ rhymg “changed” and “rema” “In My Life.”</p><p class="paywall">But rhyme is a self-imposed nstrat, and you get to choose your handcuffs. Given the exactu of Sondheim’s mic, exact rhyme is sential to snap his word to place, where Joni Mchell n croon right past . Bob Dylan might have won the Nobel Prize Lerature for work that rhymed “divorced” and “force,” but what the romantic nsirs stic and real the precisnist views as shed. In a rhyme of history, a young Sondheim had as his mp unsellor Tom Lehrer, who beme the greatt rhymg liberal polil satirist of his day, and who then gave up rhymg for a life as a mathematician (the self-discipled taste for precisn, aga), though Lehrer claims cred for imagg the tale of Sweeney Todd as a mil.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Neher slant rhyme nor straight rhyme dictat a polics. The now fotten poet <a href=">Phyllis McGley</a> loomed large this magaze’s pag for many years and, 1965, even received the ultimate cultural acla: the ver of <em>Time</em>. She ed rhyme as a way of rejectg the apparent anarchy of ee verse while illy narratg the life of a <em>femme moyenne sensuelle</em>, an ordary suburban woman. Her tone both gently mocks and tenrly accepts Amerin liberal nsens: “His paper propped agast the electric toaster / (Nicely adjted to his morng e) / Daniel at breakfast studi world disaster / And sips his orange juice.” (The assonance of “toaster” and “disaster” ss jt asi the strict scheme.)</p><p class="paywall">Rhyme for the light-verse wrers of the perd was not a reactnary force, nostalgilly evokg old orrs, but a mocratizg one, a unifyg practice that would be regnizably morn and still speak an accsible voice. Rhymg poets tend to be liberals, tryg to make poetry high-hearted and popular aga at a moment when the hermetic si of mornism seemed exhsted. A generatn of versifiers were tryg to keep poetry profound whout allowg to be obscure. Rhyme was one of their weapons.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Two people hikg at night" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn 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10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">The poet Richard Wilbur was a hero of this moment. His translatns of Molière’s edi, produced om the neteen-fifti to the two-thoands, are wrten a vigilantly smooth versn of the rhymg uplets of the origal, stead of the lumpy prose of prev English translatns. Wilbur accepted the difficulty of English rhyme by unrplayg the challenge. One is seldom stck by the genuy of the rhyme. Scrollg down a random page of his versn of “The School for Wiv,” one fds all the standards: “re” and “there,” “bliss” and “this,” “two” and “you,” “role” and “soul.” The rhym themselv uld be monplace, bee the act of rhymg was not.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Wilbur’s w is pecially imprsive when stretched out across dialogue. Take the moment when Alcte, “The Misanthrope,” rponds to the miserable son of Oronte. This exchange be, Wilbur’s versn, “Come now, I’ll lend you the subject of my son; / I’d like to see you try to improve upon ,” wh Alcte’s rejor renred as “I might, by chance, wre somethg jt as shoddy; / But then I wouldn’t show to everybody.” It’s typil of Wilbur’s skill that the translatn is nearly leral, word for word, but this uplet is particularly spired, wh Molière’s unemphatic rhyme of <em>méchants</em> and <em>gens</em> renred as the Cole Porter-ish “shoddy” and “everybody”—a rhyme that, seems fair to say, had rarely, if ever, been found English before, and giv w along wh pot.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Bee rhymg English is herently awkward, the art and w of rhymg English is, as the greatt Amerin light-verse wrer, <a href=">Ogn Nash</a>, unrstood, to land self-nscly on a “fd” when you fd one. For the te rhymer, the fds are med rather like b—the difficulty of mg them is what monstrat their value. In a Romance language, the pleasure of rhymg is s fluidy, as Lorenzo Da Ponte’s “untg” aria om “Don Gvanni,” which the flowg soft rhym of a ic ventory of untri and sctns match Mozart’s mic. But, English, rhymg mands almost the oppose—the foregroundg of difficulty. We intify our great versifiers wh their novelti: W. S. Gilbert’s “teemg wh a lot o’ news” and “the square of the hypotene”; Porter’s “Camembert” and “Fred Astaire”; Sondheim’s “personable” and “erc’ a bull.”</p><p class="paywall">Young lyricists are routely warned agast showy rhym. But this is bad advice, as showy and even showoffy rhym are one of the special glori of English versifitn. What matters is that they be kept si regnizably idmatic speech. Sometim, ed, when the idm pass, we may overlook how readily the rhym s wh or rise om mon parlance. Gilbert, for stance, enjoyed sendg up the polysyllabic pomposy of the English oratory of his day. His geni was to accept the stiffns of nventnal prose and play off —to give himself a self-imposed arthris and apply s crippled ga to ic verse: “When a felon’s not engaged his employment / Or maturg his felon ltle plans / His pacy for nocent enjoyment / Is jt as great as any hont man’s.” (The key phrase for the joke is “nocent enjoyment,” a standard exprsn of Brish parliamentary speech, somethg you’d hear oratns promotg the e of public parks.)</p><p class="paywall">Nash, too, unrstood the charms English of foregroundg the rhyme—even forcg the rhyme, om pla to fancy. It spired his long, asymmetril enjambed l: “I know you, you ut, nservative banks! / If people are worried about their rent, is / your duty to ny them the loan of one / nickel, y, even one pper engravg of / the patrtic son of the late Nancy Hanks.” (Nancy’s son, as we may now need remdg, was Hont Abe.) He uld do jt as well wh te-meter rhyme, as a 1935 poem that rgs a b differently today than did when he wrote , prottg those who dismissed his grip about his grippe: “The Super-ld to end all lds; / The Cold Csadg for Democracy; / The Führer of the Streptoccracy.” Nash lifts om the polil rhetoric of his time as much as Gilbert lifts om the polil rhetoric of his. Even wrg song lyrics, though he quieted his w a b, like a jazz tmpeter puttg a mute on to acpany a sger, Nash still didn’t shy away om the showy rhyme: “He is as simple as a swim summer, / Not arty, not actory. / He’s like a plumber when you need a plumber. / He’s satisfactory.” The l have both the charm of the everyday image—a plumber—and the hns of an unexpected rhyme.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="c4bxj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="rrgroh"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">It is not the rhym alone that unt but the placement of shock-straight rhyme wh the flow of idmatic vernacular. So McGley, another o to a suburban sprg, fds two wonrful new rhym, slightly straed a way that’s meant to draw attentn to her skill whout flectg om her story: “Still slumbers the lethargic bee, / The rosebh keeps s wter tag on, / But hatls to the A. & P. / The shopper ris statn wagon.” The real bety li her disvery wh the tr of life—the A. & P., the labelled rosebh—of the material for newfound formal play. The rhym, never before ma, feel like reka moments. We p medals on the rhymter for the gems, wh the standard mathematician’s qutn of whether the rults are ma or merely found.</p><p class="paywall">Craftg great light verse and song lyrics is the whe-water raftg of our language: small, regular eptns of self-nsc w oar agast a steady stream of idmatic speech. This is why Lorenz Hart, though ad of drk 1943, remas the great prophet of rhyme Amerin lyrics and light verse. He uld do all, varly producg ner shock rhym—“Poor Johnny One-Note / Got Aida / Ined a great chance to be brave”—and hntg monosyllabic prayers: “He danc overhead / On the ceilg near my bed /  my sight / through the night.” He uld also work both mos at once, as his “Bewched, Bothered and Bewilred,” where the first l the rhym are betifully straight, and at the end liberately torqued: “Vexed aga / Perplexed aga / Thank God I n be oversexed aga.” Not to mentn “Romance, fis / My chance, fis / Those ants that vad my pants, fis.” (It is a pleasg cince that the two greatt rhymg lyricists theatril history, Da Ponte and Hart, though separated by a century, were both Jewish, addicted to night life, and affiliated wh Columbia Universy: Lorenzo tght there and Lorenz went there.)</p><p class="paywall">So the mid-century rhyme masters, even those who prized the perfect, were not snobs. They were show people, who believed that rhyme uld have a life of s own popular magaz and onstage. Those high on Hart and those arnt for Aun shared a language. Ined, around the same time, Aun wrote a famo haiku, and Frank Loser a famo uplet, about the bdg drk of the era, the Marti. Aun also wrote a plete set of song lyrics for “Man of La Mancha” before the broken lance was passed to Joe Darn, prevly known maly for Red Buttons’s “The Ho Ho Song.” From Aun to Darn, rhyme was at once “classy” and mocratic, the one formal jacket that everyone uld rent for the prom.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Yet all the choic rhyme-makg take place agast the largely unheed current of rhyme, pure and impure, that flows unimped om popular song and greetg-rd sentiments and untls other forms. If there is a missg lk Lev Becker’s story, is surely the hyper-elegant Motown lyrics that preced rap as the spired Black pop vernacular. There’s the perfect-rhyme wrg of Smokey Robson’s “The Tracks of My Tears,” which an arrtg image (“Take a good look at my face”) is poetilly turned: “Although she may be cute / she’s jt a substute / e you’re the permanent one.” It’s the same easy mastery you fd Robson’s lyrics for “The Tears of a Clown”: “Don’t let my show nvce you / That I’ve been happy sce you . . .” Te rhyme spoke to the parents of today’s slant rhymers, suggtg that rhymg styl cycle generatnally.</p><p class="paywall">Jt as no prosody has a fixed polics, none has purchase on a particular people. Rhyme n be seamls to the pot of visible, as Wilbur’s Molière, but n also be classil and te while playg footsie wh doggerel and parody. The Brish poet Wendy Cope, for stance, has spent a lifetime wrg a form of self-aware, sometim tentnally off-rhymed near-doggerel as a challenge to what she perceiv as the htr of an olr generatn of gmpy male poets. Hers is a virtuoso prott agast virtuosy. Cope first earned her reputatn by knockg Kgsley Amis for his reproach that young poets didn’t seem to be g rhyme aquately. She wonred why he’d never read <em>hers</em>, the implitn beg that Amis uldn’t hear her rhymg bee of her sex.</p><p class="paywall">Though Cope is pable of virtuosic rhyme, one important part of her practice is to rhyme ostentatly whout cleverns. In the betiful “Lissall,” the simplicy and repetn of the rhym elaborate the poem’s melancholy msage, a bell tollg the same note:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The bear, the books, the dner bell,<br/>An air of dignified y.<br/>Last year we went to Lissall.</p><p>This year the owners had to sell—<br/>It lls to md a Chekhov play.<br/>Once life was good and all was well.</p></div></blockquote><p class="paywall">The tegry of the sentiment is guaranteed by the simplicy of the scheme.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">The art of makg lked l end wh the same sound remas limls s variety and the pluraly of s effects. If there is a monaly the pursu of rhyme Amerin lyrics and whatever remas of light verse, is, as Lev Becker rightly sists, ls polil than poetil, rooted the elevatn of our ears, an urge to make the shimmerg sensual surface of language <em>matter</em>, to turn church to clubs and clubs back to broad church. Rap, he is not aaid to say, is as close to a universal tongue as we have.</p><p class="paywall">Near-rhyme, half rhyme, off rhyme, odd rhyme, assonance and inti, slant rhymers and straight rhymers: all of is potentially pellg, and none of is a sanctuary om sense. What’s always at stake wh lerature and lyrics is their relatn to the world. We n love Wendy Cope’s words, as we n love Larry Hart’s and <a href=">Kendrick Lamar</a>’s, for the rhym they reveal, but also for the sad tths they speak. No prosody n immunize poetry agast the tt of experience. We love the balance and ntrol of rhyme even if unbalanc , but, after the mic, we want meang. “Take re of the sense, and the sounds will take re of themselv,” the Duchs “Alice’s Adventur Wonrland” says, varyg a Brish proverb on pence and pounds, and though is not a whole tth, is a big one, trailg the simplt gift of a greetg rd. For we nnot help tt rhyme wh reason. Ros <em>are</em> red. Vlets <em>are</em> blue. Sugar <em>is</em> sweet. And you? ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="76emas"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi 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When I fally started “The Frd,” one prciple was clear: no Dickens.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Zadie Smh</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Why Barbie Mt Be Punished" 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class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Why Barbie Mt Be Punished" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Mothers, dghters, and an in’s existential crisis.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Llie Jamison</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL 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bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Amerin Chronicl</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Country Mic’s Culture Wars and the Remakg of Nashville</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Country Mic’s Culture Wars and the Remakg of Nashville" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Tennsee’s ernment has turned hard red, but a new set of outlaw songwrers is challengg Mic Cy’s nservative ways—and lg bro-untry sound.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p 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