Hip-Hop’s Play on Flow

When it comes to the world today, the genre of hip-hop is as popular as ever and is continuously growing and evolving. Since the mid-70s to now, the form has been manipulated and has established what makes good hip-hop good hip-hop. Knowing how to listen to it is such a crucial aspect in order to understand hip hop, which ties to the concept of flow. Flow refers to listening for “Patterns and intricacies of rhyme. . .the way words fit with music or beat’’ (Morris 223). Flow can be intangible, referring to the artist’s delivery of timing and technique, but it also can be dissected by looking at the rhythm and rhyme of the words. Hip-hop is often not as respected as it should be academically. This could be attributed to the fact that the form uses conventional poetic forms for unconventional themes (Morris 223). Despite these unorthodox topics, when analyzing hip-hop it is evident that there is more to the placement and choice of words than meets the surface. In an excerpt of a piece of work from the famous MC Rakim, the flow and rhyme exemplifies the smoothness and effortlessness that hip-hop commonly has.

Rap is rhythm and poetry

cuts create sound effects

You might catch up if

You follow the records he wrecks

Although it is a short excerpt, the catchiness is undeniable and is what makes hip-hop unique. Furthermore, the form of hip-hop is distinctive because it relies on the ear, which is often one step ahead of the conscious absorption of material (Morris 227). This excerpt makes use of internal and external rhyme to contribute to the poem’s flow, while simultaneously making a statement about the misconception of rap/hip-hop with word play. End rhyme is seen with the words “effects” and “wrecks” rhyming. Internal rhyme is demonstrated with “create” and “might.” The rhyme within these four lines connects the words and sentences together and when performed aloud with music it becomes a paragon of hip-hop flow. In fact, “Rakim used internal rhyme to counterpoint the sounds (conventional music, cutting and scatching) created by DJ Eric B (Morris 223). The rhyme makes the word play come off effortlessly smooth. Rakim clearly wants listeners to understand that “Rap is rhythm and poetry” (224). Knowing this is important to comprehend the word play of the lines “You might catch up if/ You follow the records he wrecks” (Rakim 224). The target of the piece is those who do not comprehend the complexity of rap/hip-hop. Rakim is making the point that if these people are able to understand the “records,” then that might actually mean that they are smart. The placement of words is purposeful in order to create word play and make a point. Between the aspects of rhyme and word play, Rakim’s flow is indisputable.

Rakim. An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, Edited by Anne Finch and Kathrine Varnes, U. of Michigan P, 2002, p. 224

Tracie Morris. “Hip-Hop Rhyme Formations: Open Your Ears.” An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art, Edited by Anne Finch and Kathrine Varnes, U. of Michigan P, 2002, pp. 223–227.