91) he structures four verses through intricate repetition, evoking near-biblical cadences with the use of anaphora (the repetition of words and phrases at the beginning of successive lines) and epistrophe (that same repetition at the end of successive lines). He begins with a multisyllabic rhyme (“loyalty”/“royalty”) and follows with something called a mosaic rhyme, joining a single phrase (“win again”) with a single multisyllabic word (“Wimbledon”). Poetry is even more evident on Lamar’s “DNA” (No. Listen more closely, and you will hear that Mars and his crew of composing partners - eight people get writing credits - are playing with language in weird and compelling ways. Most of the imagery is recycled, drawn from a 1990s R&B tool kit: Sheets are silk, diamonds are white, and the champagne’s always on ice. On a first listen, “That’s What I Like” may seem an unlikely place to look for poetry. They’ve left it to pop stars to give people the poetry they really want: lyrical language charged with rhythm, rhyme and metaphor. Eliot’s “The Waste Land.” But poets today have mostly abandoned those patterns for something more esoteric. Perhaps they will call to mind the love sonnets of William Shakespeare, or the fractured images of T. Say the word “poetry” and many people will think of lilting cadence and singsong verse. Despite their vast differences in tone, however, both songs are poetry. On “That’s What I Like,” Mars is playful, even silly. On “Humble,” Lamar is confrontational and uncompromising. 1 spot from Kendrick Lamar’s “Humble.” The two songs are a study in pop contrasts. Poems top the Billboard Hot 100: This week, Bruno Mars’ “That’s What I Like” wrested the No.
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