C Squared
12-06-2006, 12:55 AM
Ok, this is something that a guy @ ma forum posted to clear up alla tha nonsense and misguiding info ppl had been getting/giving about bars in a verse, and I decided to share with you
propz goes to phobia
I searched, but did'nt see this posted, so here is a lil knowledge for ya'll, check it..
Introduction To Rhyme'n:
There is a massive misconception going around on internet messageboards pertaining to the measurement of "1 bar".
Most people thinks 1 bar is as such:
quote:
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Originally posted by IncorrectEmcee The cat had a bat and thought he was all that. He use the bat to smash the hat flat as a mat.//(1)
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This is not one bar. This is two lines together known as a "bar-couplet" which is two bars. The correct format would have been like this:
quote:
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Originally posted by ElevatedEmcee The cat had a bat and thought he was all that.(1)
He use the bat to smash the hat flat as a mat.//(2)
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There are two bars here indicated in the proper format. The technically accepted definition of a rap bar is 'one line that sets up a word to be rhymed upon or rhymed with'. A lot of people think 2 bars = 1 bar because a "bar-couplet" dosen't sound complete without the other bar, but it's not one bar. In music (which is what lyrics are written to) a "bar" = two snares or one "measure". The BPS is going to determine how many words per snare hit you can fit. Keep in mind that the rhyming word is delivered at the end of a beat hit (which is the snare in this case) which is where you get the bar from. If a beat only lasted 16 bars, your last rhyming word will be at the exact time the song ended, assuming you have anything that resembles a "flow". But to get on the more technical side, you can break it down into this simple formula:
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quote:
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one line = one bar = one measure = 2 snares = 1 snare -&- 1 high hat.
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Once again, the terminoligy that a lot of us use as a "bar" is actually a Bar Couplet. I'll get some help from my good friend the official on the English Language; Myriam Webster to help clarify further:
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quote:
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bar: (bär)
a. A vertical line drawn through a staff to mark off a measure.
b. A "measure". <---I included the definition on the bottom of this post.
Couplet: (küplît)
1. A unit of verse consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought or syntactic unit.
2. Two similar things; a pair.
3:\Coup"let\ (-l?t), n. [F. couplet, dim. of couple. See Couple, n. ] Two taken together; a pair or couple; especially two lines of verse that rhyme with each other.
That's an excerpt from Websters Unabridged Dictionary which you can find online with ease. I'll even throw in the defiition of the word "measure" in the musical sense so you can see what a F*cking absolute jackass you've made of your self:
Measure: (mézhér)
17: Music. The metric unit between two bars on the staff; a "bar".
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With this knowledge, it's quite easy to observe other mainstrem rappers. Many rap Collabos and individual verses are divided into 16 bars. Each is given 16 bars with the finisher usually given 22 or 32. This is just the simple formula studios use. Now go turn on any hip-hop collabo where a Sh*tlaod of mainstreamers come together, and start counting the lines. Count the lines per verse: 16. Always has been and always will be 16. Very few labels and recording studios deviate from this formula because all - and I mean ALL- rappers get paid per 16. You'll even hear them talk about it sometimes.
If for what ever reason you were offered a spot on a track, you'd be getting paid for 16. If you got paid for 16 bars, you'd be getting paid for 16 lines. If you submit 32 (as you would with the incorrect 2lines/bar format), half of them won't be recorded. That's a basic fact of studio time.
Congratulations, you have just been elevated.
In this chapter, many new and advanced concepts will be discussed and many "secrets" will be exposed. Please remember that I'm not telling you that this is the only way to elevate. These are simply the methods that I've found the easiest and most accessible. Some of these, you may not know how yo put to use productively the first time or two, but after a while it'll be a priceless tool in self elevation.
*Self Elevation:
Self elevation is hands down the most important technique in rhyming. In order to elevate your self, you must first recognize your own problems and weaknesses. This is not something that can be achieved if you're of the mind set that your rhymes can not be improved upon. If you feel that you are already at your pinnacle, then there is no possible way you can elevate your self and there is nothing here that you can learn. The Rhyming 101 manuscripts are intended for those who have realized that they are in need of improvement. Some don't learn this till defeat or near-defeat.
*An Emcee's arch enemy, "Writer's Block"
There are only two things that cause writer's block:
1: Nothing to say but a way to say it.
2: Something to say but no way to say it.
In situation 1, you're stuck in the zone where you want to write, but you can't think of what you want to write about. You're just saying things that you think sound great, but eventually you will run out of steam and rhyme your self into a corner as you realize you're not really saying anything. It becomes a good rhyme that doesn't have any real content.
In situation 2, you have an idea of what you want to say, or what you want to talk about, but the words just won't come to you. Situation 2 is far more common and paralyzing than situation 1. The cure for either of these, ironically enough, is exactly the same; reading. Diversifying your knowledge will exponentially expand your ability to write, and your content of what you write as well. You work will take on a more polished and professional feel to it as you can produce more adjectives or verbs which by extension will make the bridge between your concept and the execution of it much stronger.
*What and How to create:
Creativity is something we all have. Using it to paint a picture or write a rhyme is essentially the same. However there is a time where an individual will be bursting at the seems with creativity lyrically, and a time where there is substantially less creativity to be harnessed. All Emcees can observe rhymes that they've written that they've found to be a mark at their own pinnacles and they'll relish over it admiring their own ability to pull off complex wordplay or precision-guided flows. We all want to be able to consistently produce high quality work at all times and the means to do so are oddly enough, quite simple. Simply pick a style..
*What is a "style":
By default, we all write what ever we'd like in what ever format we'd like and let the words make things into what ever line formation that we see fit, but regretfully, this isn't a productive means to produce consistently hot rhymes. In order to harness creativity time after time, one needs to write their rhymes in a solid and defined structure of words, or a "style". There are only about 28 styles in existence based on 7 fundamentally different structures. Only 20 of them are considered usable and enjoyable to a listeners ear/readers eye which are based on 5 different structures. Those 5 are shown below. The remaining 15 are very easy to figure after reading the first 5, so I won't go to the extent to display them:
*You frontin; on me. Challengin' like it's something to see.
F*ckin; with me? N*ggaz don't want nothin with me.//
I'm up in a tree. Peepin through the sniper scope.
Try to spit your Sh*t. I'll land the hollow point in your throat.// (1)
1: Eight short lines with the first 4 multing off of the end word. And the second four multing off of a different end word with a transition in the first sentence. 4 lines per bar couplet.
*Mutha F*cka I aint dumb enough to really want to hear it.
That ain't a battle F*ggot. You shoulda posted it in "Lyrics".//
Now you know exactly why I don't take challenges from newbies.
Your lyrics are like wind to fat kids. They don't move me.// (2)
2: One long line, two short lines. One long line (different rhyming word) and two short lines. 3 lines per bar couplet.
*You must be suicidal to become my rival voluntarily.
Nothing about you or your copied flow is scaring me.//
If you ain't hearin me biter, then try-to turn it up.
Print out your rhymes, roll em and use my lighter to burn em up.// (3)
3: Four medium lines with the rhyming word at the end. 2 lines per bar couplet.
*Young pussies are kittens, my style you've bitten but you ain't winnin a battle with that rhyme that you've WRITTEN.//
Even your most complex wrecks are basic same lame Sh*t, face it you didnt keystyle you copied-and-pasted.// (4)
4: Two long lines smothered in multis that rhyme with the end word. 1 line per bar couplet.
*It's impossible, if not highly improbable that you posess the power or knowledge to become an obstacle to such a monsterous marvel capable to break the cables Kain used to choke Abel but effortlessly uses such skills for stopping you.// (5)
5: One long sentence riddled with multis. Hands down the hardest style to use successfully. 1/2 line per bar couplet.
The other 15 styles are simply variants on where the multi hits or if there's a multi at all. Subconciously, we all write in formats like these (if we write complete bar couplets) but we just let it fly all over the place uncontrolled and unharnessed. As you can see, as you read through the styles, the overall feeling of the lines all felt different from one to another. They go from choppy to rythmic. This can be used to ones benefit if they are trying to make a subconcious connection from their lyrics to a readers/listeners mind which makes the rhyme that much more vivid. If one were speaking of how shattered something is & like an opponents bones for example (in a battle) then a style like the first one shown here would relay that subconciously. The short sentences relay a feeling of something thats fractured or in pieces. If one were speaking of a snake, a style like the 4th or 5th one indicated here would relay a subconcious feeling of length and/or something cylindrical or a tube or tunnel. As you can see, the related use of the styles can completely alter someones perception of what your statement is and the feeling that they get from it. Rhymes seem more vivid when the image or concept that they are trying to relay are matched with a style that conveys the same idea. There are other tricks you can use to make it even more vivid, aside from the structure of the styles such as how and where you multi within the line, but I'd rather let your own mind elevate to that knowledge. Keep in mind that the intentions of this manuscript are not to think for you, but rather to offer insight into how to think.
*A "bar" vs. a "Bar couplet". (Covered in Rhyming 101: The most basic of basics)
*Redundancy & The silent killer:
Redundancy is what kills countless mainstream and underground Emcees. Although they do not realize it, they have repeated their message and/or style numerous times and people eventually get bored with hearing it. One can write two songs. One a ballad about their love for their mother, and another which could be a battle against their most hated nemesis, and both could sound exactly the same. Take an Emcee like "Slick Rick" for example, who's style is exactly the same on every song he's ever done in his entire life (Style number 3 above). A listener could be just as enthused after a song about his life on the mean streets of England as they'd be about him talking about a girl he met in a pizza parlor. The only difference is the content of these lines & but the overall structure is exactly the same every time. Using the same style over and over freed his mind to create lyrics to relay what ever he wanted to send across to the listener, but at the core, he lacked diversity in a horrible way. If you look back, you'll see that most of the 80's rappers used the exact same style in every rhyme. Fresh Prince, Tribe Called Quest, Kool Mo Dee. etc. Notice that none of those artists are prominent today. Now look at today at the artists that use the same style over and over. Juelz Santana, Yung Buck, the Young Gunz. Freeway, etc etc. Mark my words that these artists will fizzle out just as the ones before them have. Diversity is most important if you want to survive, especially in internet battles like these where there's no beat to save you! I can't express it enough that you must must must constantly change your style & or just flat out use multiple styles. I'd recommend taking the time to review the rhymes that some of us have written here before and see how many of us on this board produce the same style, although we don't see it. Time to change it up!
The Continuation to Rhyming 101: Aspects of Lyricism. We delve deeper into it in this second chapter and more "secrets" are exposed and explained. Enjoy.
*What flow is and why it's priceless:
Let's say that you are not content with your rhymes. You feel that they lack content and are terribly thinned out. You have a savior & flow. Some mainstream artists refer to it as & riding the beat. Flow is one's ability to make a rhyme land on beat. If you don't write a rhyme to a beat, be it mentally or an audible beat, then you have no flow. Your lines will be as long and as short as you want because you haven't disciplined your self to fit it to a beat or make it flow. The more precise you land a multi or a rhyming word at the end of a line, the more powerful your flow is. The words that lead up to the rhyming word (be it multi or sentence ending) just build up to that point. Lots of rappers who get the opportunity to rhyme over hot beats let the beats write the song. They don't compete with it, they simply ride with it. Some rappers build their entire careers on beats and their ability to flow with it or ride the beat. See G-Unit. The difference is that for lyrics alone, you have no audible beat to go with. You actually establish the beat in the first two lines. The pace of the first two lines will be the pace for the entire rhyme, weather you like it or not so don't fight it. Simply work with it. Establish a flow and stick to it. You'll be able to stray from it from time to time, but you always have to return back to it. Here's an example of a solid flow:
I invented methods that get in your mouth like dentists.
I ghost-wrote battles. The Ghost Hazard. - "Phantom Menace".//
Your plans I end it. Jaws dented - "inner stress" brings Cruel "in-tensions". (in-tension = inner stress)
This "pro" takes down flows. Peep how you "cons" "descended".// (condescended meaning spoke down to)
I'm beyond the mention. Dimensions end transcended.
Deep Blue brings south N*ggas to their North Endings.//
You clowns connected. You change flows, but you're the same though.
Rock you round my necklace cuz I can see that you clowns "are-mended"//(amended meaning "to change" as in the prior line "change flows")
I grip seams and rip teams just to hear your B*tch screams.
B*tch please. I expose you pussies like strip tease.//
Dis me?? Infinite Abyss RIPS teams. We RIP regimes.
I rhyme hard enough to make my dick rip my jeans!//
You under pressure like my zip, you see?
Where your dogs at?? Cuz you ain't Sh*t but a B*tch to me.//
I break "J's" physically and vandalize your iris visually.
Around the time I clown you and drown you lyrically.//
You F students suck my dick in geography .
That's how you go down as the dumbest N*gga in history.//
N*ggaz alter when I crush'em Keep the "change" nice.
Suck my dick with your scalp off. I'll peep your brains twice.//
Think you gonna come back when I diss ya? N*gga keep it.
Weak B*tch. Rip you faster than a Twista. - Peep it//
Although it's quite complex, you can see that this rhyme above here is extremely vivid. Every single multi and rhyming word lands on the beat that was in my head, which is subconciously established by the first two lines. As just text, we don't have the luxury of a beat to save us from a horribly empty verse or lackluster rhymes so we have to master flowing. After some time, you'll be able to know how to throw things *slightly* off so that the rhyme doesn't sound repetitious just a little something to pep it up a bit, but the main intention should be to stay on beat and with the flow. Abusing the offcentering of the rhyming word will work against you as a bad flow. I can't stress enough how much that mastery of this is absolutely important. It's one of the 2 major factors that make the skeleton of a rhyme.
*Rhyme Content:
Content. The other half of the two pillars that make up a rhyme's skeleton. Content speaks specifically about what a rhyme is saying, or trying to say and it's relevance to it self. Someone could write a 20 bar rhyme and every bar has a different topic. The content in that case would be anything and everything and it'd really go nowhere. On the other hand, if all 20 lines were all relating to the same topic or painting images about it, then the content there is absolutely bulletproof. To build up content, simply think about the aspects of what ever it is you're talking about. Think of the things that make it, things that describe it, what makes it tick, what its; composed of etc. You can write 10 rhymes about 1 topic and every one of them be different if you can observe enough about it. The information is there, you simply need to find it. You can train your self on this considerably easily. Pick any appliance device in your home, like a blender, a TV, a radio, a mic, anything like that. Then jot down as many things about it as you can. What it looks like, sounds like, shape, what it does, etc. Then..realize that you have only written about the things on the surface. Think of all the components on the inside that make it operate. Think about why it does what it does. How. What powers it. What it can do. What it can't do. How did it get to you? What makes this one different form the other 10,000 exactly like it. And you havent even analized it on a molecular level! Now jot all those ideas down. You can imagine already that you can have literally hundreds of points about this device and you can certainly make hundreds if not thousands of bars on that device alone and all the organized chaos that happens when you press its on button.
Also, don't be afraid to do a little research the internet is a powerful tool that'll teach you nearly everything about anything and any of it can be utilized.
*Reverse thinking or thinking backwards:
Reverse thinking is the art of writing your concepts backwards. Most basic rhymers will write rhymes where they think of what they want to say, then say it, then fill in the rest of the line with things just to carry it to the next concept (known as filler). Reverse thinking does the exact opposite. The concept comes as the goal in the line, and everything else is simply built to build up to it. The difference here is tremendous. Reverse thought lines will have a point that they make, where as forward thought lines generally don't. It's nearly impossible to tell an adequate story without thinking backwards. To simplify: Forward Thinking = good concepts with bad execution. Reverse Thinking = good concepts with great execution. All the lines are clear, concise and relevant.
* Increasing rhyme consistency/capacity/endurance.
After all the skills you've learned consistency is the key. In order to write more and more quality lyrics, you simply need to write more and do it under all conditions you can think of. Force your self to rhyme. Write. Write. Write. Write when you're sleepy as hell, write when you're sick, write when you're happy as hell, write when you're horny, write when you're bored, write when you have a headache, write when you're depressed, write when you're sober, write when you're not. JUST KEEP WRITING!! It'll start off looking like Sh*t, and you'll know it. Fortunately, you'll recognize it. Eventaully, your mind will scan for topics and you'll be writing about them then it'll hook into something and not let go of it. Lots of freestyles, ciphers, battles, etc start and end off like this. But you don't have to post those rhymes anywhere. Keep them to your self. But keep on writing. After a while, you'll see that you live in a position where you're never really in/out of the zone to write, because it comes so effortless to you. You'll find your own situations which you won't be able to write under (my personal one is headache and sickness but I can do all the others) you'll just be in different degrees of fire. Always ON fire, but just a matter of how much. You'll also see that you never have writers block. You'll just become more selective of the rhymes you don't like.
There was a time where I used to force my self to write 200 bars every single day. Writing 200 bars is easy as hell (if you wanted to be able to do something like that) once you've trained your mind to observe different facets of your subject matter. It's not something you do because you need to or anything like that, just because you can and as a result, your overall rhyme capacity is increased massively.
The easiest way you increase that capacity is to start off just rambling rhymes. Say what ever you want, and rhyme it. You'll start off talking about all sorts of crap, then eventually you'll start to focus in on a topic. That's the start of the end!! That's when you really start honing your potential. You'll feel that nagging feeling in the back of your head like "damn, know I an do better than this" so you just keep on going and going and I guarantee that it'll come to you. Just don't stop before it does. After a while, you'll be able to get your mind to jump straight to that every time. Needless to say that this is a good thing.
* What does it all add up to??
The ability to easily produce lyrics of what ever type and complexity that you'd like and do it without limitations.
What Is Complexity?
FAQ
Why do you use complexity? Complexity, first off, is a combination of how you put together your lines, the originality of your lines, the rhyme scheme, etc all bundled into one. A simple verse makes for a simple reaction, and a simple reaction isn’t what most cats want.
Why do people like complexity? It makes them feel the person put more thought into a verse and keeps your own image looking sharp and on point. No one likes to read boringly simple verses. Complexity take away the average and pushes in the above the rim kinna Sh*t namean…
How often should I use complexity in a verse? ALWAYS at least make an attempt to use a bit of complexity. *NOTE: complexity is NOT long lines, but rather thought put into lines*
How do I come up with complexity all the time? Put your lines together without simple, mediocre formats, elevate vocabulary, and use creative lines as opposed to played out ideas.
What is Wordplay
Wordplay is a concept that a lot of people stretch and misuse. Hopefully by the time you finish reading this the uses as well as misuses will be distinctly more apparent. It’s hard to tell someone how to wordplay, as this has to be done on your own. But what I can tell you is how to properly use wordplay and how to keep from forcing it.
DOUBLE MEANING
Example: make ya O², like the oxygen ya wasted/ (0-2)
Example: titanic’s the sixth sense, icy dead people/ (I see)
Example: make ya shake in ya boots, like cowboys at baskin robins/
This is my most effective punchplay method. By use of double meanings you are connecting two homophones (your wordplay) into a punch. Notice that I said homophones. This does not include words that pretty much sound like another. To find out if your own creations are forced, go through syllable by syllable and if any one syllable doesn’t match it’s counterpart, it is indeed forced…
WORD FISSION
Example: what took you twenty? i in-ten-did/ (intended)
Example: all new? all blue? this kid’s walkin crip-tonight/ (kryptonite)
Example: wearin ya out, jus another casual-tee/ (casualty)
When splicing a word into two separates you must use a hyphen to show connection. These are the easiest wordplays to start with considering all you are essentially doing is dividing a word into syllables and connecting the different syllables in altered ways. Again, go syllable by syllable to find any forces. It isn’t required that any homophones be found in these wordplays to justify it as wordplay, but they do make it that much more inventive.
WORD FUSION
Example: like pregnant christians, ya never de-fetus kids/ (defeat us)
Example: must be on the budget phone service cause ya clique inactive/ (click in active)
When combining words you may or may not find it necessary to use hyphens, strictly up to the emcee. These can pack a powerful punch just as all wordplay can, but once again, be careful not to force. All that is required form this type of wordplay is that words be adjoined, though homophones within help periodically.
WHAT WORDPLAY ISN’T
Example: like night of the living dead, i’m layin off this coroner/
Example: forfeit? na, split ya up like divorces/
Example: watch my fist kiss ya jaw like holy matrimony/
These are punches, clever ones at that, but they aren’t wordplay. A punch is generally a comparison of some sort poking fun at someone or something, or making a clever statement of some sort. But a punch by definition is, DISSING YOUR OPPONENT
Constructing A Battle Verse
I'm sure theres thousands upon thousands of actual ways to construct a battle verse, but this tutorial should enlighten you to using punches, wordplay, metaphors, imagery, fillers, etc EFFECTIVELY. Yes, fillers can be used effectively too, especially in keystyle verses, but thats complicated right now. We'll start with a basic guide to actually writing a battle verse.
QUINTESSENTIAL BATTLE VERSE MUST KNOW!!!
First off, KNOW YOUR STYLE… if you're using something you relate to more as an emcee then that gives you emotional power to excel. Know what your good at and work on what you're not before you go throwing it into important battles.
Secondly, BE CREATIVE don't flip the same lines over and over again, it gets bombastic after a while. Also don’t use lines that are, can be, or sound played. That can deduct a lot from how hard lines hit. An OK to mediocre punch can hit 10x harder if it's on a original topic.
Now with that behind us, let us address the categories of battling
PUNCHES
FAQ
Why do you use punches? To make verses hit hard.
Why do people like punches? Cause they diss like little else can.
How often should I use punches in a verse? Any line that doesnt have one SHOULD be setting the next line up for one That is, unless you have some other special use for that line.
How do I come up with punches all the time? Halfway from experience and halfway through knowledge if you're taking classes then use what you learn to make punches out of observe the world and flip it into a punch, it doesnt matter. The point is there are millions of ways to diss someone jus pick one and go with it at least every 4 lines
WORDPLAY
FAQ
Why do you use wordplay? To make Sh*t more clever, plain and simple.
Why do people like wordplay? It puts a whole new school of thought through their monitor people love to go damn. That was ill. And wordplay is one way to do that.
How often should I use wordplay in a verse? It is by no means necessary to use wordplay at all, but I personally choose to use it at least 3-4 times in one verse (20 lines) You can use it as often or spontaneous as you like, just don't go forcing it.
How do I come up with wordplay all the time? There is no way to constantly come up with wordplay without talent at picking words apart, but if you're really lame there ARE homonym dictionaries out on the internet I don't ever use them, but hey ya gotta do what ya gotta do right?
METAPHORS
FAQ
Why do you use metaphors? To add deepness and creativity to writing. Metaphors can present a sense of mind process no other quality can.
Why do people like metaphors? It makes them think, but in a good way.
How often should I use metaphors in a verse? Again, not something that is necessary but most certainly a quality that once mastered can come off as very potent line for line. Can be used as often or infrequently as desired though.
How do I come up with metaphors all the time? Aight, you cant even cheat on metaphors like you can wordplay. Metaphors either come or they don't Similes are a lot easier to express because like is one syllable, but expressing comparisons as metaphors generally takes longer than a one syllable word. Thats what makes them so difficult to master. But VERY effective once time has taken it's toll.
IMAGERY
FAQ
Why do you use imagery? To exaggerate or express something creatively by using description over raw dope thought.
Why do people like imagery? Instead of ouch that was really creative, imagery paints a picture for the scene then twists it into pure ingenious a true artists choice of expertise.
How often should I use imagery in a verse? Since the past three qualities go hand in hand with punches, again, as often or infrequent as desired. I try to throw in at least 1 imagery line per verse just to display skill, but look at Weapon X, my god the kids got some pictures in his head waiting to take over the world.
How do I come up with imagery all the time? Mainly creativity and common knowledge. Get a picture and describe it better than you see it and yoll know when youve mastered it.
PERSONALS
FAQ
Why do you use personals? For several reasons, #1 especially in keystyled battles, it shows authenticity, #2 it shows thought and personal ridicule, #3 it just hits hard because its directly relevant to the person kind of like sentimental value for a watch or something.
Why do people like personals? For all the reasons above.
How often should I use personals in a verse? As often as you like if every line was personal you would win a lot of battles.
How do I come up with personals all the time? If you know the person then you can take past events or things of that nature and expose them in a dissing manner if you dont then people generally flip avatars, signatures, custom text, etc. into punches.
COMPLEXITY
FAQ
Why do you use complexity? Complexity, first off, is a combination of how you put together your lines, the originality of your lines, the rhyme scheme, etc all bundled into one. A simple verse makes for a simple reaction, and a simple reaction isnt what most cats want.
Why do people like complexity? It makes them feel the person put more thought into a verse and keeps your own image looking sharp and on point. No one likes to read boringly simple verses. Complexity take away the average and pushes in the above the rim kinna Sh*t namean
How often should I use complexity in a verse? ALWAYS at least make an attempt to use a bit of complexity. *NOTE: complexity is NOT long lines, but rather thought put into lines*
How do I come up with complexity all the time? Put your lines together without simple, mediocre formats, elevate vocabulary, and use creative lines as opposed to played out ideas.
FILLERS AND SETUPS
FAQ
Why do you use fillers and setups? For several reasons, #1 being a sacrifice of illness for rhyme scheme, #2 being to elaborate on a punch with a pre-punch, #3 being you just got tired of writing, said F*ck it and wrote somn that rhymes.
Why do people like fillers and setups? Generally people frown upon just straight filler, but setups can be very useful when a punch is specific and slightly hidden, you can use setups to manipulate the reader's mind into thinking in the same area you are, hence a better understanding and harder hit from your ending punch.
How often should I use fillers and setups in a verse? I always like to setup my punches, just for rhyme scheme purposes if nothing else, but 50% of my verse in general is setups. As for the rest, punches of some sort (be it punchplay, imagery, metaphors, etc).
How do I come up with fillers and setups all the time? All you gotta be able to do is rhyme and get a lil relevant, these are by far the easiest lines to write, not much thought involved.
Thats just a general few categories I selected
HOW TO PUT A VERSE TOGETHER
Step 1 GET IDEAS If you have topics then thinking up punches is a breeze. Think up a list of topics before you write and punches will be much less scarce
Step 2 FLIP IDEAS TO PUNCHES Flip your ideas however you wish, but make it clever and diss your opponent at least 50% of the time. Self-righteous punches may hit sometimes but rarely will they make quotables unless its just REALLY clever
Step 3 RHYME IT You got punches, take a good rhyme scheme and put a flow to it sometimes you may have a lack of multies. If so switch-up the rhyme scheme or re-flip the punch (theres always at least two ways for a punch to go)
Step 4 READ AND CORRECT go over your finished verse and correct spelling mistakes, italicize whatever wordplay or something you want to highlight, whatever. But mos def check your Sh*t and make sure it aint wack This step has saved my ass I unno how many times I'll finish a verse and be like damn that was F*ckin wack then re-flip some Sh*t and it be good to scoot.
Punchlines 101
For a lot of text rhymers, this is the highlight of the verse, when someone flips a phrase two different ways making everyone go "GOT DAYUM!!"
I.E. ex. from Ty§on:
messin' with me...
You'll have a "lot of problems" on your hands like cheating in algebra
just sends a shiver up your spine, doesn't it. But let's start at the beginning. First, what's a punchline.
A lot of people call punchlines metaphores, but actually a metaphore is an association between two things made without the usage of the words "like" or "as"...(remember English class, now?)
So saying something like, "I'll beat you like an egg" isn't a metaphore. When you use "like" or "as", it's called a simile.
Similes are very prominent in battle raps, although they don't necessarily have to be. It's all up to the rhymers whim. But seeing as how this is a punchline class, let me continue...
The best way to get good at using similies is to practice. Play around with words and the different meanings that they can have. The english language is full of them.
"slugs"
a snail-like creature
the slang term for a fired bullet
"dog"
a canine
a man; friend
The best way to use similies is at the end of the line they are in. I have found they are noticed better there and the build up is greater.
I usually write a set up line first and then my line with the simile:
I'm the only computer user that's abusin' loser's in brawls; nueterin ya'll
I'll take my rymes and shove my "tale" 'tween your legs "like a cowardly dog"
This is reletively simple compared to what cats on here are doin' here on a daily basis. But you get the idea. Here I used the double meaning the word 'tale' has as well as the double meaning that 'dog' has. Read a dictionary, they give double meanings to words all the time, for the rest you just have to be imaginative.
A real metaphore is more simple, you just liken the person, or yourself, or WHATEVER, without using 'like' or 'as'
"Emcees are similes, always "liking" "ass""
hahaha, I kinda like that one. Emcees are similies, get it?
The second type of punchline you'll probably know if you listen to anything Canibus does. These are the punchlines that are based on claimin' the outrageous.
This is when you make a statement that is so unreal that it sounds awesome just to imagine it.
ex. Richard Corey:
"I'll kill you so fast you won't have enough time to die!"
That just makes you go GAWD DOG!!! Cause in real life, no one can kill anyone that fast, that's what's makes it fun. This is a little easier to do, a little, cause you still have to come up with different examples and be creative.
ex. Canibus
"I'm so ill I have AIDS scared to catch me!"
You get the idea. This actually has a metaphoer and an exagerrated claim.
• He's not only ill as a rapper, but he's ill like a disease.
•_So ill in fact that AIDS avoids him...
The last punchline, that I can think of, is the plain-ol'-insult...
Sometimes you can just diss a guy without all the flash and it's just...damn.
ex. Froshkiller:
Think y'all an iller clique? Invasion's gender identity is STILL switched
Man or woman, no matter which, the situation is YOU'RE STILL A B*tch
This line was made during a time when there was a contraversy on whether MCInvasion was a guy or a girl. So when Frosh said this simple diss line, it had hella impact.
This is also a metaphore as the word B*tch, is used both to mean "a punk" and "a woman"
The plain-'ol-insult punchline allows you to get more personal. You can make fun of the fact that they just lost to a really wack person, or to the fact that they're from the boondocks of Colorodo claimin thug...the sky's the limit!
The moral of this lesson is, be inventive. Punchlines don't make or break a verse, I feel that if your verse is just better, it's just better. Punchlines are more like flavoring for food. I mean, who eats a bowl of seasoned salt by itself...NO ONE...
So build everything else up first, punchlines come later, but for those who just have to have them...take this little lesson to heart..
What is a Multi?
Have you ever wondered either what multies are or how to get better at them if you already know what they are? If you have, this thread is for you. Multies can make your verse flow better, look better, and hit harder. It takes time to learn how to write skilled lines and still use multies, but once you learn it, you will find it gets easier every day.
What is a multie?
Multies are a method of rhyming more than one syllable together. Before we go into what a multi is, however, you will need to know what is not a multie, because there are a lot of people out there that think they use them, but really don't.... I've seen it many times.
These two examples are not multies
Example 1:
grabbin the four, bust thru the door to murder a whore/
smash the slut wit a board and lay her head on the floor/
Example 2:
if i catch u fussin u get busted in the nugget wit musketz/
tucked in the mud wit ur fingers thrown in a bucket/
The first one was just rhymin words together more than once (four, door, whore, board, floor). Though it seems that would be multiple rhyming, it is not. Multie is short for multi-syllable rhyming, which is exactly what it says: rhyming together multiple syllablez. The second example is not a multie either. The reason? Musket, bucket, fussin...these are all suffixes...suffixes do not count as a rhyming syllable. The mud wit, or tucked in, those would count as a multie, but I try to stay away from using words such as is, in, the, if...as a multie. It sounds better when u use full words. These are not "prominent syllables" (keep reading).
This next example IS a multie
Example 1:
snatched off ya feet, breakin-ya-neck, stick a stake-in-ya-chest/
then start chokin ya soul, F*ck ya life, i'm takin-ya-death/
You see how breakin-ya-neck, stake-in-ya-chest, takin-ya-death all rhyme together at more than one point? break, stake, take...and neck, chest, death. Words do not always have to rhyme EXACTLY. Rhyme, crime, time would be exact rhymes. Nine, life, five are not. However, in rap, they both work just as well, tho exact rhymes do sound ever-so-slightly better to the ear.
You do not have to put three multies in one bar (two linez)....You can put only one in each line, or as many as you want, as long as you don't stretch your lines! (See Wyzerd's tutorial on bar length.) You will see in rhyming multies that not every syllable has to rhyme. It so happenz that the two middle syllablez in the example above are all in and ya. That's great if it happenz to be, but take for example exit-woundz, next-to-you, wreckin-crew.
What has to rhyme and what doesn't.
You will notice in rhyming that you have both "prominent" and "silent" syllables. in the example above, in and ya would be silent. You hear them, however their soundz are not prominent or stressed when spoken. In two syllable multies (wu-tang, blue-flame), of course, both syllablez will rhyme, or it wouldn't be a multie! In three syllablez, usually the first and last syllable rhyme (stomp-his-back, drop-the-batz, cockin-macz). You can variate on this, such as (babblin, travelin, abdomen, javelin, snatchin-men), but we'll get into that more next lesson. The same applies to four syllables as with three. Most often the first and last syllable rhyme, tho if the ones in between rhyme as well, more power to you! When u get into five syllables, usually the first, second and last, or the first, fourth and last rhyme: (Sh*t-in-ya-stomach, rippin-em-from-it, spit-when-i-gut-him...these are all first, fourth, fifth). You also have your first, second and last (slap-B*tches-wit-batz, my crack-itchez-so-bad, cats-spittin-like-fagz). As always, if more than those syllablez rhyme, more power to you. You may ask, what about six syllablez and so on, but after u get to five syllablez, anything more doesn't flow right. It's too long for your brain to really pick up on when you hear it. I suggest keeping it at five or under. Of course, it should go without saying, the first syllablez will always rhyme, because that is the start of the multie!
How do I get better at multies?
The best thing you can do to get better at multies is to read the dictionary. This soundz pretty simple, but I mean literally read it once, all the way through. There are rhyming dictionaries out there as well, but I personally feel as if it takes away my own style and personality...I also feel like I'm cheating, so I have never used them. I couldn't even tell you where to find them. I have read most of the dictionary, almost the whole thing. Just skim-read it...you'll be surprised how much you retain. Vocabulary is they key, because no one wants to see you rhyme the same things over and over again.
Another great way, probably the best if done in supplement to reading the dictionary and thesauruses, is to practice them. Take a certain rhyme scheme, such as...rhyme scheme! Now sit down without a dictionary, and make as many multies as you can out of it. When you can make about fifty multies in one scheme, you know you've got it. Do this with various rhyme schemez. Not writing verses, just lists of rhyming words. I have notebooks full of rhyming words and almost nothing else besides some wack verses written as a newbie.
Finally, just expiriment. Don't use the same rhyme schemes but different rhyming words all the time...mix it up....Mix up how many syllables you use, etc.
THE END!!!
What is a Forced Multi?
To understand this, you must know what a multi is. If not, reference to a multi here. Multi’s can help a piece flow much smoother. It is able to connect the words for an overall better song and adds a lot towards punch. However, forcing multi’s which do not make sense do not add to complexity. Many people take on that kind of mentality thinking they are making a piece more complex, what you are really doing is not making sense. Forced multi’s will even throw of a flow. What happens with forced multi’s is when you try to have multis in your lines. To do so, you usually end up stuffing fillers and concepts into your lines to the point where it just flops completely. I would post examples, but it would most likely be an insert from someone’s rhymes. So as not to spark beef, you’re left with descriptions.
An ex.:
Quote: › Select ›‹ Expand
I MAKE RIPS n’ BREAK LIPS n’ soar like SPACESHIPS while killin’ killas like Kobe gettin’ raped by a RAPIST//
Notice the multis were highlighted through caps. Most people who annotate multis are forcing them. In addition, notice the style; that style is a trap for forced multis usually. That style has potential to be good, but usually is trashed. Just to show that this style can be used effectively here is a little example:
twist of fate wrote: › Select ›‹ Expand
Here is an example of good mutli’s which aren’t forced: Yo Save-It-B*tch an Take-The-Rip, and like ya sex life..Ill Make-It-Quick!/
Why people do this:
Like stated, they are trying to get complexity in all the wrong places, and they are trying to use multis. Hence the term forced, they are using forced ways of getting these things but only end up hurting themselves.
How to avoid:
Use the style which is
Quote: › Select ›‹ Expand
Blah blah blah/
Blah blah blah blah//
Instead of:
Quote: › Select ›‹ Expand
Blah blah blah blah blah blah blah//
Only use the “blah blah blah blah blah blah//” style for word juggling usually. One should work on content before trying to smoothen out with multis. If you want examples of this style used correctly however, see some old Darth (when he used to use the style), Lyl Wun, and Twist of Fate. There are others but those are the main ones.
What is a Personal?
A personal is an aspect of rhyming that when used effectively...can cause catastrophic damage to your opponent. Personals can be many different things....the opponents name, avatar, sig, crew name, past battles, and pictures amongst other things. However, you will want to stay up to date on personals for each opponent. Because using 'played' concepts reduces the effectiveness of the rhyme and will hurt more than help. Some examples that you can use will look like this...
I hope darth doesn't hate me for this....but in our battle...these were some personals that took place...
Darth Assassin vs. Absolute
Darth wrote:
Bets on this battle? - put ya cash on darth, im defusin his jaw
Or end up like “abs’ hair” in the end - “losin it all”
^^^here he used a picture of me to illustrate his point...not a bad idea...but also make sure that the personal is tru...or it will be pointless.
Darth wrote:
Winner that lost to “nova”?, and now got “habits” of “losin too (two)”?
^^here Darth was talking about the losses that I have in my battle career...also has wordplay in this line...real nice...
Absolute wrote:
I can't lose...I mean how much more garbage will this lame show..
Covering his P*ssy...in that pic Darth has more titties than Jane Doe!..
^^here I used a pic as well to illustrate the point...giving the reader a visual combined wit truth...hits home real hard...
Absolute wrote:
Thru all my victories here...I've been known to crack hymens..
I was disappointed when I saw yours destroyed by umm...Black Diamond!
^^^Here I was getting at Darth's battle past as well...and how he lot of sort of a 'lesser opponent' at the time...
So these are just some examples/forms of personals...the main thing is...to not use 'played concepts' and to make sure that the personal is TRUE!
propz goes to phobia
I searched, but did'nt see this posted, so here is a lil knowledge for ya'll, check it..
Introduction To Rhyme'n:
There is a massive misconception going around on internet messageboards pertaining to the measurement of "1 bar".
Most people thinks 1 bar is as such:
quote:
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Originally posted by IncorrectEmcee The cat had a bat and thought he was all that. He use the bat to smash the hat flat as a mat.//(1)
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This is not one bar. This is two lines together known as a "bar-couplet" which is two bars. The correct format would have been like this:
quote:
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Originally posted by ElevatedEmcee The cat had a bat and thought he was all that.(1)
He use the bat to smash the hat flat as a mat.//(2)
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There are two bars here indicated in the proper format. The technically accepted definition of a rap bar is 'one line that sets up a word to be rhymed upon or rhymed with'. A lot of people think 2 bars = 1 bar because a "bar-couplet" dosen't sound complete without the other bar, but it's not one bar. In music (which is what lyrics are written to) a "bar" = two snares or one "measure". The BPS is going to determine how many words per snare hit you can fit. Keep in mind that the rhyming word is delivered at the end of a beat hit (which is the snare in this case) which is where you get the bar from. If a beat only lasted 16 bars, your last rhyming word will be at the exact time the song ended, assuming you have anything that resembles a "flow". But to get on the more technical side, you can break it down into this simple formula:
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quote:
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one line = one bar = one measure = 2 snares = 1 snare -&- 1 high hat.
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Once again, the terminoligy that a lot of us use as a "bar" is actually a Bar Couplet. I'll get some help from my good friend the official on the English Language; Myriam Webster to help clarify further:
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quote:
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bar: (bär)
a. A vertical line drawn through a staff to mark off a measure.
b. A "measure". <---I included the definition on the bottom of this post.
Couplet: (küplît)
1. A unit of verse consisting of two successive lines, usually rhyming and having the same meter and often forming a complete thought or syntactic unit.
2. Two similar things; a pair.
3:\Coup"let\ (-l?t), n. [F. couplet, dim. of couple. See Couple, n. ] Two taken together; a pair or couple; especially two lines of verse that rhyme with each other.
That's an excerpt from Websters Unabridged Dictionary which you can find online with ease. I'll even throw in the defiition of the word "measure" in the musical sense so you can see what a F*cking absolute jackass you've made of your self:
Measure: (mézhér)
17: Music. The metric unit between two bars on the staff; a "bar".
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With this knowledge, it's quite easy to observe other mainstrem rappers. Many rap Collabos and individual verses are divided into 16 bars. Each is given 16 bars with the finisher usually given 22 or 32. This is just the simple formula studios use. Now go turn on any hip-hop collabo where a Sh*tlaod of mainstreamers come together, and start counting the lines. Count the lines per verse: 16. Always has been and always will be 16. Very few labels and recording studios deviate from this formula because all - and I mean ALL- rappers get paid per 16. You'll even hear them talk about it sometimes.
If for what ever reason you were offered a spot on a track, you'd be getting paid for 16. If you got paid for 16 bars, you'd be getting paid for 16 lines. If you submit 32 (as you would with the incorrect 2lines/bar format), half of them won't be recorded. That's a basic fact of studio time.
Congratulations, you have just been elevated.
In this chapter, many new and advanced concepts will be discussed and many "secrets" will be exposed. Please remember that I'm not telling you that this is the only way to elevate. These are simply the methods that I've found the easiest and most accessible. Some of these, you may not know how yo put to use productively the first time or two, but after a while it'll be a priceless tool in self elevation.
*Self Elevation:
Self elevation is hands down the most important technique in rhyming. In order to elevate your self, you must first recognize your own problems and weaknesses. This is not something that can be achieved if you're of the mind set that your rhymes can not be improved upon. If you feel that you are already at your pinnacle, then there is no possible way you can elevate your self and there is nothing here that you can learn. The Rhyming 101 manuscripts are intended for those who have realized that they are in need of improvement. Some don't learn this till defeat or near-defeat.
*An Emcee's arch enemy, "Writer's Block"
There are only two things that cause writer's block:
1: Nothing to say but a way to say it.
2: Something to say but no way to say it.
In situation 1, you're stuck in the zone where you want to write, but you can't think of what you want to write about. You're just saying things that you think sound great, but eventually you will run out of steam and rhyme your self into a corner as you realize you're not really saying anything. It becomes a good rhyme that doesn't have any real content.
In situation 2, you have an idea of what you want to say, or what you want to talk about, but the words just won't come to you. Situation 2 is far more common and paralyzing than situation 1. The cure for either of these, ironically enough, is exactly the same; reading. Diversifying your knowledge will exponentially expand your ability to write, and your content of what you write as well. You work will take on a more polished and professional feel to it as you can produce more adjectives or verbs which by extension will make the bridge between your concept and the execution of it much stronger.
*What and How to create:
Creativity is something we all have. Using it to paint a picture or write a rhyme is essentially the same. However there is a time where an individual will be bursting at the seems with creativity lyrically, and a time where there is substantially less creativity to be harnessed. All Emcees can observe rhymes that they've written that they've found to be a mark at their own pinnacles and they'll relish over it admiring their own ability to pull off complex wordplay or precision-guided flows. We all want to be able to consistently produce high quality work at all times and the means to do so are oddly enough, quite simple. Simply pick a style..
*What is a "style":
By default, we all write what ever we'd like in what ever format we'd like and let the words make things into what ever line formation that we see fit, but regretfully, this isn't a productive means to produce consistently hot rhymes. In order to harness creativity time after time, one needs to write their rhymes in a solid and defined structure of words, or a "style". There are only about 28 styles in existence based on 7 fundamentally different structures. Only 20 of them are considered usable and enjoyable to a listeners ear/readers eye which are based on 5 different structures. Those 5 are shown below. The remaining 15 are very easy to figure after reading the first 5, so I won't go to the extent to display them:
*You frontin; on me. Challengin' like it's something to see.
F*ckin; with me? N*ggaz don't want nothin with me.//
I'm up in a tree. Peepin through the sniper scope.
Try to spit your Sh*t. I'll land the hollow point in your throat.// (1)
1: Eight short lines with the first 4 multing off of the end word. And the second four multing off of a different end word with a transition in the first sentence. 4 lines per bar couplet.
*Mutha F*cka I aint dumb enough to really want to hear it.
That ain't a battle F*ggot. You shoulda posted it in "Lyrics".//
Now you know exactly why I don't take challenges from newbies.
Your lyrics are like wind to fat kids. They don't move me.// (2)
2: One long line, two short lines. One long line (different rhyming word) and two short lines. 3 lines per bar couplet.
*You must be suicidal to become my rival voluntarily.
Nothing about you or your copied flow is scaring me.//
If you ain't hearin me biter, then try-to turn it up.
Print out your rhymes, roll em and use my lighter to burn em up.// (3)
3: Four medium lines with the rhyming word at the end. 2 lines per bar couplet.
*Young pussies are kittens, my style you've bitten but you ain't winnin a battle with that rhyme that you've WRITTEN.//
Even your most complex wrecks are basic same lame Sh*t, face it you didnt keystyle you copied-and-pasted.// (4)
4: Two long lines smothered in multis that rhyme with the end word. 1 line per bar couplet.
*It's impossible, if not highly improbable that you posess the power or knowledge to become an obstacle to such a monsterous marvel capable to break the cables Kain used to choke Abel but effortlessly uses such skills for stopping you.// (5)
5: One long sentence riddled with multis. Hands down the hardest style to use successfully. 1/2 line per bar couplet.
The other 15 styles are simply variants on where the multi hits or if there's a multi at all. Subconciously, we all write in formats like these (if we write complete bar couplets) but we just let it fly all over the place uncontrolled and unharnessed. As you can see, as you read through the styles, the overall feeling of the lines all felt different from one to another. They go from choppy to rythmic. This can be used to ones benefit if they are trying to make a subconcious connection from their lyrics to a readers/listeners mind which makes the rhyme that much more vivid. If one were speaking of how shattered something is & like an opponents bones for example (in a battle) then a style like the first one shown here would relay that subconciously. The short sentences relay a feeling of something thats fractured or in pieces. If one were speaking of a snake, a style like the 4th or 5th one indicated here would relay a subconcious feeling of length and/or something cylindrical or a tube or tunnel. As you can see, the related use of the styles can completely alter someones perception of what your statement is and the feeling that they get from it. Rhymes seem more vivid when the image or concept that they are trying to relay are matched with a style that conveys the same idea. There are other tricks you can use to make it even more vivid, aside from the structure of the styles such as how and where you multi within the line, but I'd rather let your own mind elevate to that knowledge. Keep in mind that the intentions of this manuscript are not to think for you, but rather to offer insight into how to think.
*A "bar" vs. a "Bar couplet". (Covered in Rhyming 101: The most basic of basics)
*Redundancy & The silent killer:
Redundancy is what kills countless mainstream and underground Emcees. Although they do not realize it, they have repeated their message and/or style numerous times and people eventually get bored with hearing it. One can write two songs. One a ballad about their love for their mother, and another which could be a battle against their most hated nemesis, and both could sound exactly the same. Take an Emcee like "Slick Rick" for example, who's style is exactly the same on every song he's ever done in his entire life (Style number 3 above). A listener could be just as enthused after a song about his life on the mean streets of England as they'd be about him talking about a girl he met in a pizza parlor. The only difference is the content of these lines & but the overall structure is exactly the same every time. Using the same style over and over freed his mind to create lyrics to relay what ever he wanted to send across to the listener, but at the core, he lacked diversity in a horrible way. If you look back, you'll see that most of the 80's rappers used the exact same style in every rhyme. Fresh Prince, Tribe Called Quest, Kool Mo Dee. etc. Notice that none of those artists are prominent today. Now look at today at the artists that use the same style over and over. Juelz Santana, Yung Buck, the Young Gunz. Freeway, etc etc. Mark my words that these artists will fizzle out just as the ones before them have. Diversity is most important if you want to survive, especially in internet battles like these where there's no beat to save you! I can't express it enough that you must must must constantly change your style & or just flat out use multiple styles. I'd recommend taking the time to review the rhymes that some of us have written here before and see how many of us on this board produce the same style, although we don't see it. Time to change it up!
The Continuation to Rhyming 101: Aspects of Lyricism. We delve deeper into it in this second chapter and more "secrets" are exposed and explained. Enjoy.
*What flow is and why it's priceless:
Let's say that you are not content with your rhymes. You feel that they lack content and are terribly thinned out. You have a savior & flow. Some mainstream artists refer to it as & riding the beat. Flow is one's ability to make a rhyme land on beat. If you don't write a rhyme to a beat, be it mentally or an audible beat, then you have no flow. Your lines will be as long and as short as you want because you haven't disciplined your self to fit it to a beat or make it flow. The more precise you land a multi or a rhyming word at the end of a line, the more powerful your flow is. The words that lead up to the rhyming word (be it multi or sentence ending) just build up to that point. Lots of rappers who get the opportunity to rhyme over hot beats let the beats write the song. They don't compete with it, they simply ride with it. Some rappers build their entire careers on beats and their ability to flow with it or ride the beat. See G-Unit. The difference is that for lyrics alone, you have no audible beat to go with. You actually establish the beat in the first two lines. The pace of the first two lines will be the pace for the entire rhyme, weather you like it or not so don't fight it. Simply work with it. Establish a flow and stick to it. You'll be able to stray from it from time to time, but you always have to return back to it. Here's an example of a solid flow:
I invented methods that get in your mouth like dentists.
I ghost-wrote battles. The Ghost Hazard. - "Phantom Menace".//
Your plans I end it. Jaws dented - "inner stress" brings Cruel "in-tensions". (in-tension = inner stress)
This "pro" takes down flows. Peep how you "cons" "descended".// (condescended meaning spoke down to)
I'm beyond the mention. Dimensions end transcended.
Deep Blue brings south N*ggas to their North Endings.//
You clowns connected. You change flows, but you're the same though.
Rock you round my necklace cuz I can see that you clowns "are-mended"//(amended meaning "to change" as in the prior line "change flows")
I grip seams and rip teams just to hear your B*tch screams.
B*tch please. I expose you pussies like strip tease.//
Dis me?? Infinite Abyss RIPS teams. We RIP regimes.
I rhyme hard enough to make my dick rip my jeans!//
You under pressure like my zip, you see?
Where your dogs at?? Cuz you ain't Sh*t but a B*tch to me.//
I break "J's" physically and vandalize your iris visually.
Around the time I clown you and drown you lyrically.//
You F students suck my dick in geography .
That's how you go down as the dumbest N*gga in history.//
N*ggaz alter when I crush'em Keep the "change" nice.
Suck my dick with your scalp off. I'll peep your brains twice.//
Think you gonna come back when I diss ya? N*gga keep it.
Weak B*tch. Rip you faster than a Twista. - Peep it//
Although it's quite complex, you can see that this rhyme above here is extremely vivid. Every single multi and rhyming word lands on the beat that was in my head, which is subconciously established by the first two lines. As just text, we don't have the luxury of a beat to save us from a horribly empty verse or lackluster rhymes so we have to master flowing. After some time, you'll be able to know how to throw things *slightly* off so that the rhyme doesn't sound repetitious just a little something to pep it up a bit, but the main intention should be to stay on beat and with the flow. Abusing the offcentering of the rhyming word will work against you as a bad flow. I can't stress enough how much that mastery of this is absolutely important. It's one of the 2 major factors that make the skeleton of a rhyme.
*Rhyme Content:
Content. The other half of the two pillars that make up a rhyme's skeleton. Content speaks specifically about what a rhyme is saying, or trying to say and it's relevance to it self. Someone could write a 20 bar rhyme and every bar has a different topic. The content in that case would be anything and everything and it'd really go nowhere. On the other hand, if all 20 lines were all relating to the same topic or painting images about it, then the content there is absolutely bulletproof. To build up content, simply think about the aspects of what ever it is you're talking about. Think of the things that make it, things that describe it, what makes it tick, what its; composed of etc. You can write 10 rhymes about 1 topic and every one of them be different if you can observe enough about it. The information is there, you simply need to find it. You can train your self on this considerably easily. Pick any appliance device in your home, like a blender, a TV, a radio, a mic, anything like that. Then jot down as many things about it as you can. What it looks like, sounds like, shape, what it does, etc. Then..realize that you have only written about the things on the surface. Think of all the components on the inside that make it operate. Think about why it does what it does. How. What powers it. What it can do. What it can't do. How did it get to you? What makes this one different form the other 10,000 exactly like it. And you havent even analized it on a molecular level! Now jot all those ideas down. You can imagine already that you can have literally hundreds of points about this device and you can certainly make hundreds if not thousands of bars on that device alone and all the organized chaos that happens when you press its on button.
Also, don't be afraid to do a little research the internet is a powerful tool that'll teach you nearly everything about anything and any of it can be utilized.
*Reverse thinking or thinking backwards:
Reverse thinking is the art of writing your concepts backwards. Most basic rhymers will write rhymes where they think of what they want to say, then say it, then fill in the rest of the line with things just to carry it to the next concept (known as filler). Reverse thinking does the exact opposite. The concept comes as the goal in the line, and everything else is simply built to build up to it. The difference here is tremendous. Reverse thought lines will have a point that they make, where as forward thought lines generally don't. It's nearly impossible to tell an adequate story without thinking backwards. To simplify: Forward Thinking = good concepts with bad execution. Reverse Thinking = good concepts with great execution. All the lines are clear, concise and relevant.
* Increasing rhyme consistency/capacity/endurance.
After all the skills you've learned consistency is the key. In order to write more and more quality lyrics, you simply need to write more and do it under all conditions you can think of. Force your self to rhyme. Write. Write. Write. Write when you're sleepy as hell, write when you're sick, write when you're happy as hell, write when you're horny, write when you're bored, write when you have a headache, write when you're depressed, write when you're sober, write when you're not. JUST KEEP WRITING!! It'll start off looking like Sh*t, and you'll know it. Fortunately, you'll recognize it. Eventaully, your mind will scan for topics and you'll be writing about them then it'll hook into something and not let go of it. Lots of freestyles, ciphers, battles, etc start and end off like this. But you don't have to post those rhymes anywhere. Keep them to your self. But keep on writing. After a while, you'll see that you live in a position where you're never really in/out of the zone to write, because it comes so effortless to you. You'll find your own situations which you won't be able to write under (my personal one is headache and sickness but I can do all the others) you'll just be in different degrees of fire. Always ON fire, but just a matter of how much. You'll also see that you never have writers block. You'll just become more selective of the rhymes you don't like.
There was a time where I used to force my self to write 200 bars every single day. Writing 200 bars is easy as hell (if you wanted to be able to do something like that) once you've trained your mind to observe different facets of your subject matter. It's not something you do because you need to or anything like that, just because you can and as a result, your overall rhyme capacity is increased massively.
The easiest way you increase that capacity is to start off just rambling rhymes. Say what ever you want, and rhyme it. You'll start off talking about all sorts of crap, then eventually you'll start to focus in on a topic. That's the start of the end!! That's when you really start honing your potential. You'll feel that nagging feeling in the back of your head like "damn, know I an do better than this" so you just keep on going and going and I guarantee that it'll come to you. Just don't stop before it does. After a while, you'll be able to get your mind to jump straight to that every time. Needless to say that this is a good thing.
* What does it all add up to??
The ability to easily produce lyrics of what ever type and complexity that you'd like and do it without limitations.
What Is Complexity?
FAQ
Why do you use complexity? Complexity, first off, is a combination of how you put together your lines, the originality of your lines, the rhyme scheme, etc all bundled into one. A simple verse makes for a simple reaction, and a simple reaction isn’t what most cats want.
Why do people like complexity? It makes them feel the person put more thought into a verse and keeps your own image looking sharp and on point. No one likes to read boringly simple verses. Complexity take away the average and pushes in the above the rim kinna Sh*t namean…
How often should I use complexity in a verse? ALWAYS at least make an attempt to use a bit of complexity. *NOTE: complexity is NOT long lines, but rather thought put into lines*
How do I come up with complexity all the time? Put your lines together without simple, mediocre formats, elevate vocabulary, and use creative lines as opposed to played out ideas.
What is Wordplay
Wordplay is a concept that a lot of people stretch and misuse. Hopefully by the time you finish reading this the uses as well as misuses will be distinctly more apparent. It’s hard to tell someone how to wordplay, as this has to be done on your own. But what I can tell you is how to properly use wordplay and how to keep from forcing it.
DOUBLE MEANING
Example: make ya O², like the oxygen ya wasted/ (0-2)
Example: titanic’s the sixth sense, icy dead people/ (I see)
Example: make ya shake in ya boots, like cowboys at baskin robins/
This is my most effective punchplay method. By use of double meanings you are connecting two homophones (your wordplay) into a punch. Notice that I said homophones. This does not include words that pretty much sound like another. To find out if your own creations are forced, go through syllable by syllable and if any one syllable doesn’t match it’s counterpart, it is indeed forced…
WORD FISSION
Example: what took you twenty? i in-ten-did/ (intended)
Example: all new? all blue? this kid’s walkin crip-tonight/ (kryptonite)
Example: wearin ya out, jus another casual-tee/ (casualty)
When splicing a word into two separates you must use a hyphen to show connection. These are the easiest wordplays to start with considering all you are essentially doing is dividing a word into syllables and connecting the different syllables in altered ways. Again, go syllable by syllable to find any forces. It isn’t required that any homophones be found in these wordplays to justify it as wordplay, but they do make it that much more inventive.
WORD FUSION
Example: like pregnant christians, ya never de-fetus kids/ (defeat us)
Example: must be on the budget phone service cause ya clique inactive/ (click in active)
When combining words you may or may not find it necessary to use hyphens, strictly up to the emcee. These can pack a powerful punch just as all wordplay can, but once again, be careful not to force. All that is required form this type of wordplay is that words be adjoined, though homophones within help periodically.
WHAT WORDPLAY ISN’T
Example: like night of the living dead, i’m layin off this coroner/
Example: forfeit? na, split ya up like divorces/
Example: watch my fist kiss ya jaw like holy matrimony/
These are punches, clever ones at that, but they aren’t wordplay. A punch is generally a comparison of some sort poking fun at someone or something, or making a clever statement of some sort. But a punch by definition is, DISSING YOUR OPPONENT
Constructing A Battle Verse
I'm sure theres thousands upon thousands of actual ways to construct a battle verse, but this tutorial should enlighten you to using punches, wordplay, metaphors, imagery, fillers, etc EFFECTIVELY. Yes, fillers can be used effectively too, especially in keystyle verses, but thats complicated right now. We'll start with a basic guide to actually writing a battle verse.
QUINTESSENTIAL BATTLE VERSE MUST KNOW!!!
First off, KNOW YOUR STYLE… if you're using something you relate to more as an emcee then that gives you emotional power to excel. Know what your good at and work on what you're not before you go throwing it into important battles.
Secondly, BE CREATIVE don't flip the same lines over and over again, it gets bombastic after a while. Also don’t use lines that are, can be, or sound played. That can deduct a lot from how hard lines hit. An OK to mediocre punch can hit 10x harder if it's on a original topic.
Now with that behind us, let us address the categories of battling
PUNCHES
FAQ
Why do you use punches? To make verses hit hard.
Why do people like punches? Cause they diss like little else can.
How often should I use punches in a verse? Any line that doesnt have one SHOULD be setting the next line up for one That is, unless you have some other special use for that line.
How do I come up with punches all the time? Halfway from experience and halfway through knowledge if you're taking classes then use what you learn to make punches out of observe the world and flip it into a punch, it doesnt matter. The point is there are millions of ways to diss someone jus pick one and go with it at least every 4 lines
WORDPLAY
FAQ
Why do you use wordplay? To make Sh*t more clever, plain and simple.
Why do people like wordplay? It puts a whole new school of thought through their monitor people love to go damn. That was ill. And wordplay is one way to do that.
How often should I use wordplay in a verse? It is by no means necessary to use wordplay at all, but I personally choose to use it at least 3-4 times in one verse (20 lines) You can use it as often or spontaneous as you like, just don't go forcing it.
How do I come up with wordplay all the time? There is no way to constantly come up with wordplay without talent at picking words apart, but if you're really lame there ARE homonym dictionaries out on the internet I don't ever use them, but hey ya gotta do what ya gotta do right?
METAPHORS
FAQ
Why do you use metaphors? To add deepness and creativity to writing. Metaphors can present a sense of mind process no other quality can.
Why do people like metaphors? It makes them think, but in a good way.
How often should I use metaphors in a verse? Again, not something that is necessary but most certainly a quality that once mastered can come off as very potent line for line. Can be used as often or infrequently as desired though.
How do I come up with metaphors all the time? Aight, you cant even cheat on metaphors like you can wordplay. Metaphors either come or they don't Similes are a lot easier to express because like is one syllable, but expressing comparisons as metaphors generally takes longer than a one syllable word. Thats what makes them so difficult to master. But VERY effective once time has taken it's toll.
IMAGERY
FAQ
Why do you use imagery? To exaggerate or express something creatively by using description over raw dope thought.
Why do people like imagery? Instead of ouch that was really creative, imagery paints a picture for the scene then twists it into pure ingenious a true artists choice of expertise.
How often should I use imagery in a verse? Since the past three qualities go hand in hand with punches, again, as often or infrequent as desired. I try to throw in at least 1 imagery line per verse just to display skill, but look at Weapon X, my god the kids got some pictures in his head waiting to take over the world.
How do I come up with imagery all the time? Mainly creativity and common knowledge. Get a picture and describe it better than you see it and yoll know when youve mastered it.
PERSONALS
FAQ
Why do you use personals? For several reasons, #1 especially in keystyled battles, it shows authenticity, #2 it shows thought and personal ridicule, #3 it just hits hard because its directly relevant to the person kind of like sentimental value for a watch or something.
Why do people like personals? For all the reasons above.
How often should I use personals in a verse? As often as you like if every line was personal you would win a lot of battles.
How do I come up with personals all the time? If you know the person then you can take past events or things of that nature and expose them in a dissing manner if you dont then people generally flip avatars, signatures, custom text, etc. into punches.
COMPLEXITY
FAQ
Why do you use complexity? Complexity, first off, is a combination of how you put together your lines, the originality of your lines, the rhyme scheme, etc all bundled into one. A simple verse makes for a simple reaction, and a simple reaction isnt what most cats want.
Why do people like complexity? It makes them feel the person put more thought into a verse and keeps your own image looking sharp and on point. No one likes to read boringly simple verses. Complexity take away the average and pushes in the above the rim kinna Sh*t namean
How often should I use complexity in a verse? ALWAYS at least make an attempt to use a bit of complexity. *NOTE: complexity is NOT long lines, but rather thought put into lines*
How do I come up with complexity all the time? Put your lines together without simple, mediocre formats, elevate vocabulary, and use creative lines as opposed to played out ideas.
FILLERS AND SETUPS
FAQ
Why do you use fillers and setups? For several reasons, #1 being a sacrifice of illness for rhyme scheme, #2 being to elaborate on a punch with a pre-punch, #3 being you just got tired of writing, said F*ck it and wrote somn that rhymes.
Why do people like fillers and setups? Generally people frown upon just straight filler, but setups can be very useful when a punch is specific and slightly hidden, you can use setups to manipulate the reader's mind into thinking in the same area you are, hence a better understanding and harder hit from your ending punch.
How often should I use fillers and setups in a verse? I always like to setup my punches, just for rhyme scheme purposes if nothing else, but 50% of my verse in general is setups. As for the rest, punches of some sort (be it punchplay, imagery, metaphors, etc).
How do I come up with fillers and setups all the time? All you gotta be able to do is rhyme and get a lil relevant, these are by far the easiest lines to write, not much thought involved.
Thats just a general few categories I selected
HOW TO PUT A VERSE TOGETHER
Step 1 GET IDEAS If you have topics then thinking up punches is a breeze. Think up a list of topics before you write and punches will be much less scarce
Step 2 FLIP IDEAS TO PUNCHES Flip your ideas however you wish, but make it clever and diss your opponent at least 50% of the time. Self-righteous punches may hit sometimes but rarely will they make quotables unless its just REALLY clever
Step 3 RHYME IT You got punches, take a good rhyme scheme and put a flow to it sometimes you may have a lack of multies. If so switch-up the rhyme scheme or re-flip the punch (theres always at least two ways for a punch to go)
Step 4 READ AND CORRECT go over your finished verse and correct spelling mistakes, italicize whatever wordplay or something you want to highlight, whatever. But mos def check your Sh*t and make sure it aint wack This step has saved my ass I unno how many times I'll finish a verse and be like damn that was F*ckin wack then re-flip some Sh*t and it be good to scoot.
Punchlines 101
For a lot of text rhymers, this is the highlight of the verse, when someone flips a phrase two different ways making everyone go "GOT DAYUM!!"
I.E. ex. from Ty§on:
messin' with me...
You'll have a "lot of problems" on your hands like cheating in algebra
just sends a shiver up your spine, doesn't it. But let's start at the beginning. First, what's a punchline.
A lot of people call punchlines metaphores, but actually a metaphore is an association between two things made without the usage of the words "like" or "as"...(remember English class, now?)
So saying something like, "I'll beat you like an egg" isn't a metaphore. When you use "like" or "as", it's called a simile.
Similes are very prominent in battle raps, although they don't necessarily have to be. It's all up to the rhymers whim. But seeing as how this is a punchline class, let me continue...
The best way to get good at using similies is to practice. Play around with words and the different meanings that they can have. The english language is full of them.
"slugs"
a snail-like creature
the slang term for a fired bullet
"dog"
a canine
a man; friend
The best way to use similies is at the end of the line they are in. I have found they are noticed better there and the build up is greater.
I usually write a set up line first and then my line with the simile:
I'm the only computer user that's abusin' loser's in brawls; nueterin ya'll
I'll take my rymes and shove my "tale" 'tween your legs "like a cowardly dog"
This is reletively simple compared to what cats on here are doin' here on a daily basis. But you get the idea. Here I used the double meaning the word 'tale' has as well as the double meaning that 'dog' has. Read a dictionary, they give double meanings to words all the time, for the rest you just have to be imaginative.
A real metaphore is more simple, you just liken the person, or yourself, or WHATEVER, without using 'like' or 'as'
"Emcees are similes, always "liking" "ass""
hahaha, I kinda like that one. Emcees are similies, get it?
The second type of punchline you'll probably know if you listen to anything Canibus does. These are the punchlines that are based on claimin' the outrageous.
This is when you make a statement that is so unreal that it sounds awesome just to imagine it.
ex. Richard Corey:
"I'll kill you so fast you won't have enough time to die!"
That just makes you go GAWD DOG!!! Cause in real life, no one can kill anyone that fast, that's what's makes it fun. This is a little easier to do, a little, cause you still have to come up with different examples and be creative.
ex. Canibus
"I'm so ill I have AIDS scared to catch me!"
You get the idea. This actually has a metaphoer and an exagerrated claim.
• He's not only ill as a rapper, but he's ill like a disease.
•_So ill in fact that AIDS avoids him...
The last punchline, that I can think of, is the plain-ol'-insult...
Sometimes you can just diss a guy without all the flash and it's just...damn.
ex. Froshkiller:
Think y'all an iller clique? Invasion's gender identity is STILL switched
Man or woman, no matter which, the situation is YOU'RE STILL A B*tch
This line was made during a time when there was a contraversy on whether MCInvasion was a guy or a girl. So when Frosh said this simple diss line, it had hella impact.
This is also a metaphore as the word B*tch, is used both to mean "a punk" and "a woman"
The plain-'ol-insult punchline allows you to get more personal. You can make fun of the fact that they just lost to a really wack person, or to the fact that they're from the boondocks of Colorodo claimin thug...the sky's the limit!
The moral of this lesson is, be inventive. Punchlines don't make or break a verse, I feel that if your verse is just better, it's just better. Punchlines are more like flavoring for food. I mean, who eats a bowl of seasoned salt by itself...NO ONE...
So build everything else up first, punchlines come later, but for those who just have to have them...take this little lesson to heart..
What is a Multi?
Have you ever wondered either what multies are or how to get better at them if you already know what they are? If you have, this thread is for you. Multies can make your verse flow better, look better, and hit harder. It takes time to learn how to write skilled lines and still use multies, but once you learn it, you will find it gets easier every day.
What is a multie?
Multies are a method of rhyming more than one syllable together. Before we go into what a multi is, however, you will need to know what is not a multie, because there are a lot of people out there that think they use them, but really don't.... I've seen it many times.
These two examples are not multies
Example 1:
grabbin the four, bust thru the door to murder a whore/
smash the slut wit a board and lay her head on the floor/
Example 2:
if i catch u fussin u get busted in the nugget wit musketz/
tucked in the mud wit ur fingers thrown in a bucket/
The first one was just rhymin words together more than once (four, door, whore, board, floor). Though it seems that would be multiple rhyming, it is not. Multie is short for multi-syllable rhyming, which is exactly what it says: rhyming together multiple syllablez. The second example is not a multie either. The reason? Musket, bucket, fussin...these are all suffixes...suffixes do not count as a rhyming syllable. The mud wit, or tucked in, those would count as a multie, but I try to stay away from using words such as is, in, the, if...as a multie. It sounds better when u use full words. These are not "prominent syllables" (keep reading).
This next example IS a multie
Example 1:
snatched off ya feet, breakin-ya-neck, stick a stake-in-ya-chest/
then start chokin ya soul, F*ck ya life, i'm takin-ya-death/
You see how breakin-ya-neck, stake-in-ya-chest, takin-ya-death all rhyme together at more than one point? break, stake, take...and neck, chest, death. Words do not always have to rhyme EXACTLY. Rhyme, crime, time would be exact rhymes. Nine, life, five are not. However, in rap, they both work just as well, tho exact rhymes do sound ever-so-slightly better to the ear.
You do not have to put three multies in one bar (two linez)....You can put only one in each line, or as many as you want, as long as you don't stretch your lines! (See Wyzerd's tutorial on bar length.) You will see in rhyming multies that not every syllable has to rhyme. It so happenz that the two middle syllablez in the example above are all in and ya. That's great if it happenz to be, but take for example exit-woundz, next-to-you, wreckin-crew.
What has to rhyme and what doesn't.
You will notice in rhyming that you have both "prominent" and "silent" syllables. in the example above, in and ya would be silent. You hear them, however their soundz are not prominent or stressed when spoken. In two syllable multies (wu-tang, blue-flame), of course, both syllablez will rhyme, or it wouldn't be a multie! In three syllablez, usually the first and last syllable rhyme (stomp-his-back, drop-the-batz, cockin-macz). You can variate on this, such as (babblin, travelin, abdomen, javelin, snatchin-men), but we'll get into that more next lesson. The same applies to four syllables as with three. Most often the first and last syllable rhyme, tho if the ones in between rhyme as well, more power to you! When u get into five syllables, usually the first, second and last, or the first, fourth and last rhyme: (Sh*t-in-ya-stomach, rippin-em-from-it, spit-when-i-gut-him...these are all first, fourth, fifth). You also have your first, second and last (slap-B*tches-wit-batz, my crack-itchez-so-bad, cats-spittin-like-fagz). As always, if more than those syllablez rhyme, more power to you. You may ask, what about six syllablez and so on, but after u get to five syllablez, anything more doesn't flow right. It's too long for your brain to really pick up on when you hear it. I suggest keeping it at five or under. Of course, it should go without saying, the first syllablez will always rhyme, because that is the start of the multie!
How do I get better at multies?
The best thing you can do to get better at multies is to read the dictionary. This soundz pretty simple, but I mean literally read it once, all the way through. There are rhyming dictionaries out there as well, but I personally feel as if it takes away my own style and personality...I also feel like I'm cheating, so I have never used them. I couldn't even tell you where to find them. I have read most of the dictionary, almost the whole thing. Just skim-read it...you'll be surprised how much you retain. Vocabulary is they key, because no one wants to see you rhyme the same things over and over again.
Another great way, probably the best if done in supplement to reading the dictionary and thesauruses, is to practice them. Take a certain rhyme scheme, such as...rhyme scheme! Now sit down without a dictionary, and make as many multies as you can out of it. When you can make about fifty multies in one scheme, you know you've got it. Do this with various rhyme schemez. Not writing verses, just lists of rhyming words. I have notebooks full of rhyming words and almost nothing else besides some wack verses written as a newbie.
Finally, just expiriment. Don't use the same rhyme schemes but different rhyming words all the time...mix it up....Mix up how many syllables you use, etc.
THE END!!!
What is a Forced Multi?
To understand this, you must know what a multi is. If not, reference to a multi here. Multi’s can help a piece flow much smoother. It is able to connect the words for an overall better song and adds a lot towards punch. However, forcing multi’s which do not make sense do not add to complexity. Many people take on that kind of mentality thinking they are making a piece more complex, what you are really doing is not making sense. Forced multi’s will even throw of a flow. What happens with forced multi’s is when you try to have multis in your lines. To do so, you usually end up stuffing fillers and concepts into your lines to the point where it just flops completely. I would post examples, but it would most likely be an insert from someone’s rhymes. So as not to spark beef, you’re left with descriptions.
An ex.:
Quote: › Select ›‹ Expand
I MAKE RIPS n’ BREAK LIPS n’ soar like SPACESHIPS while killin’ killas like Kobe gettin’ raped by a RAPIST//
Notice the multis were highlighted through caps. Most people who annotate multis are forcing them. In addition, notice the style; that style is a trap for forced multis usually. That style has potential to be good, but usually is trashed. Just to show that this style can be used effectively here is a little example:
twist of fate wrote: › Select ›‹ Expand
Here is an example of good mutli’s which aren’t forced: Yo Save-It-B*tch an Take-The-Rip, and like ya sex life..Ill Make-It-Quick!/
Why people do this:
Like stated, they are trying to get complexity in all the wrong places, and they are trying to use multis. Hence the term forced, they are using forced ways of getting these things but only end up hurting themselves.
How to avoid:
Use the style which is
Quote: › Select ›‹ Expand
Blah blah blah/
Blah blah blah blah//
Instead of:
Quote: › Select ›‹ Expand
Blah blah blah blah blah blah blah//
Only use the “blah blah blah blah blah blah//” style for word juggling usually. One should work on content before trying to smoothen out with multis. If you want examples of this style used correctly however, see some old Darth (when he used to use the style), Lyl Wun, and Twist of Fate. There are others but those are the main ones.
What is a Personal?
A personal is an aspect of rhyming that when used effectively...can cause catastrophic damage to your opponent. Personals can be many different things....the opponents name, avatar, sig, crew name, past battles, and pictures amongst other things. However, you will want to stay up to date on personals for each opponent. Because using 'played' concepts reduces the effectiveness of the rhyme and will hurt more than help. Some examples that you can use will look like this...
I hope darth doesn't hate me for this....but in our battle...these were some personals that took place...
Darth Assassin vs. Absolute
Darth wrote:
Bets on this battle? - put ya cash on darth, im defusin his jaw
Or end up like “abs’ hair” in the end - “losin it all”
^^^here he used a picture of me to illustrate his point...not a bad idea...but also make sure that the personal is tru...or it will be pointless.
Darth wrote:
Winner that lost to “nova”?, and now got “habits” of “losin too (two)”?
^^here Darth was talking about the losses that I have in my battle career...also has wordplay in this line...real nice...
Absolute wrote:
I can't lose...I mean how much more garbage will this lame show..
Covering his P*ssy...in that pic Darth has more titties than Jane Doe!..
^^here I used a pic as well to illustrate the point...giving the reader a visual combined wit truth...hits home real hard...
Absolute wrote:
Thru all my victories here...I've been known to crack hymens..
I was disappointed when I saw yours destroyed by umm...Black Diamond!
^^^Here I was getting at Darth's battle past as well...and how he lot of sort of a 'lesser opponent' at the time...
So these are just some examples/forms of personals...the main thing is...to not use 'played concepts' and to make sure that the personal is TRUE!