A Quote by David Barton

In 1967, in DeKalb v. DeSpain, a court (255 F.Supp. 655. N.D.Ill. 1966.) took a 4-line nursery rhyme used by a K-5 kindergarten class and declared the nursery rhyme unconstitutional. The court explained that although the word 'God' was not contained in this nursery rhyme, if someone were to hear the rhyme, he might think that it was talking about God - and that would be unconstitutional!
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.
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.
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.
My first record was about childhood. There were a lot of nursery rhyme and fairytale references; it was all about being naive.
Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.
You can get people to follow very intricate pathways of musical information, but it feels like a nursery rhyme or a children's story.
A nursery rhyme shapes your bones and nerves, and it shapes your mind. They are powerful, nursery rhymes, and immensely old, and not toys, even though they are for children." "But they make no sense!" Summer protested "Ah, well," said Ben. "Sometimes sense hides behind walls. You must find a window and stick your head right in before you can see it.
I have a little nursery rhyme for all you children out there, something even the Godfather can understand. 'You can prance and you can dance, but when it comes to relations, keep it in your pants.
It seems like some of my favorite songs have almost like a nursery rhyme vibe to them.
When you start talking about the known knowns and the unknown unknowns, you're thrown into a crazy meta-level discussion. Do I know what I know, do I know what I don't know, do I know what I don't know I don't know. It becomes a strange, Lewis Carroll - like nursery rhyme.
When I began rapping, I only had one form at my disposal. All I had, all I needed was a rhyme verse; sixteen bar, thirty-two bar, whatever it was. If I had an idea it came out as a rhyme. When I challenged myself to think beyond that, my first thing other than a rhyme that I wrote was a play.
I am my own parent when it comes to rapping and do impromptu stuff. Being a rapper, you have to be good at improvising, like you give me a word and I have to rhyme it quickly and then make sense out of the rhyme.
At first I was laboring under the impression that Chinese lyrics didn't rhyme. That turned out to be untrue - they don't rhyme in translation.
I mean, when it's time to rhyme rhyme, I can get down for mine.
I'm a keen musician. Me and my mates have a great times jamming and recording stuff. We have a great band behind us and have turned my nursery-rhyme songs into quite credible pieces of music.
Assonance is not the enemy of rhyme. It helps us to respect rhyme, which has been spoiled by mechanical use.
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