Rhyme to kill, rhyme to murder, rhyme to stomp,
Rhyme to ill, rhyme to romp,
Rhyme to smack, rhyme to shock, rhyme to roll,
Rhyme to destroy anything, toy boy.
On the microphone:
I'm Poppa Large, big shot on the East Coast.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
Sometimes I rhyme slow sometimes I rhyme quick, I was on 125 and St.Nick
Being stuck is a position few of us like. We want something new but cannot let go of the old - old ideas, beliefs, habits, even thoughts. We are out of contact with our own genius. Sometimes we know we are stuck; sometimes we don't. In both cases we have to DO something.
I don't feel like it's pressure. It's more of an obligation - not to entertain or be funny, but to have a certain levity. I mean, there's got to be a lightness in your leg. You have to be as light as you can be, and you don't have to be weighted down, stuck in your emotions and stuck in your body, stuck in your head. You just want to try and elevate something.
For me, books are music for my mind and my imagination. When I am stuck in something I'm writing, I simply read my way out of being stuck. You can never waste time reading.
Most artists have experienced the creative block. We get stuck in our work. We beat our head against the wall: nothing. Sometimes, it is because we are trying something at the wrong time.
Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too distracting. If I'm listening to something I really love - I have to stop and give everything over to it. I'm listening to its structures, its melodic lines, the bass. It takes up too much of my head - in a good way.
Something like going to get the newspaper can increase your writing efficiency by taking you away from the material. When I'm doing other things, writing stuff will be swirling around in my head, and sometimes I'll see a new way into the material.
Some rhyme a neebor's name to lash;
Some rhyme (vain thought!) for needfu' cash;
Some rhyme to court the countra clash,
An' raise a din;
For me, an aim I never fash;
I rhyme for fun.
There seems to be no rhyme or reason for Aleister Black and Bobby Lashley to collide, because the world teaches us that sometimes there is no reason or rhyme for conflict.
"Tabernacle" was probably the easiest song I'd ever wrote because all I really had to do was rhyme the words since the whole story, front to back, was already in my head. All I needed to do was verbalize it, and if it didn't have to rhyme I could've just freestyled it because I already knew what I wanted to say.
You have to be as light as you can be and not get weighed down and stuck in your emotion, stuck in your body, stuck in your head. You just want to always be trying to elevate somehow.
Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.
I tried to write poems in rhyme. I tried writing songs. Sometimes I jotted down a thought. I would keep a log of spontaneous thoughts.
My writing process is consecutive, like, 'mad scientist' crazy. It's not totally writing something that rhymes or even writing a rap necessarily. Sometimes it's just writing down stuff that I'm going through.