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Survivor’s guilt—he feels guilty because he’s still alive.

http://en.wikipedia.org/wiki/Survivor_guilt

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Feeling like I’m going to choke on tears (ie get choked up), but also choke on the gun smoke that he references two lines earlier in regards to the mother’s hair.

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"My style versatile said without rhymes / Which is why the..." (Public Enemy – Miuzi Weighs a Ton) | accepted

It’s not just this couplet—it’s most of the this last verse that goes “without rhymes.” And there the formal logic of the couplet which dominates not just this album but the art form in the mid 80s is suddenly and dramatically stripped away. The resulting off-kilter “lecture” demands that the listener “Understand my rhythm,” rather than the rhyme. These moments, and a few others on the album, showcase the group’s virtuosity and forecast future greatness—but like the album as a whole, even the final verse of “Miuzi” resolves in the final four bars to rhymed couplets, privileging the expected over innovation.

"I make intense sense" (Outkast – Y'All Scared) | accepted

This line also opens up fascinating interplay between the rhythm and the rhyming that is central to this verse. The stress is on the second half of the word in indent (ie inDENT), which is then mirrored with intense (same iambic stress pattern—inTENSE), with sense as the final banging stressed rhyme there. So if you read the stresses in the rhymes, it looks like this:

yo PARagraph inDENT, i MAKE inTENSE SENSE

which you hear again in the same meter with “hint hint” in the next line—both have that spondee at the end, which is just nerdspeak for a double stress:

NIGgas on that GIL scott dope HINT HINT

By the third line there’s an unstressed syllable (the /ee/ sound at the end of Billy) between the two stresses at the end:

At AGE fifTEEN they start SMOKing BILLy CLINT

Which returns to a proper double stress in the fourth line:

Now he’s 21 and wants to know where the TIME WENT.

What I love about this verse is how then he flips that meter in the fifth line with the ‘heys’ at the start of the line—

HEY HEY HEY what’s the HAPS.

So suddenly you get all these stresses at the start of the line instead of the end. It gets your attention. And it’s beautiful, an example of the kind of attention to rhythm and its impact on rhyme that makes Andre3000 one of the greats.

"When you fall through the chop shop" (Outkast – The Way You Move) | accepted

The chop shop is one of several references in the song to the music video, which starts out in a garage that could be a chop shop. Also could be a reference to “chopping it up” as a term for flirting—so then the chop shop becomes the place where that flirting is consumated, where you cut down the metaphorical tree of this woman. “Cut up” is also slang for sex—as in Da Art of Storytelling Part One.

"You're dunce cappin' and kazooin'" (Clipse – Mr. Me Too) | rejected

A dunce cap refers to a hat kids were made to wear in school when they misbehaved. So you’re not just being a kid, you’re being a stupid kid. See here: http://en.wikipedia.org/wiki/Dunce_cap

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