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music explication

            "Crossroads" by Bone Thugs-N-Harmony.
             Many believe that the genre of rap music is a mixture of violence, sex, and an extensive use of inappropriate language. However, that is only the "black sheep" .
             part of music. Rap music contains a great deal of emotions and poetic tactics, which, like all music, relates to the listener on a personal level. "Crossroads" by Bone Thugs-N-Harmony, is one song which contains these feelings and techniques.
             Bone Thugs-N-Harmony is a group most famous fast rapping lyrics. It is that exact quality which creates the mood to the song, "Crossroads", where, here the theme is death and coming in terms with it. The song deals with the morning of a lost friend, Eazy-Bone, and their uncle, Charles. The song then begins to change meaning when they realize that they will die too. However death here is not feared, for they will reunite with those already at the crossroads.
             One may see how techniques such as their tempo, voice, and rhyme help create the songs mood. When it comes to rhyme scheme, Bone Thugs are very creative. For them there is no set pattern to their style of rapping, "God is who we praise/ even though the devil's all up in my face/ But He's keeping me safe and in my place, save grace/ For the case to race with a chance to face the judge/ And I'm guessing my soul won't budge/ Grudge because there's no mercy for thugs" (Layzie-Bone). Here Layzie rhymes throughout the lines. When mixed with his tempo and voice, it creates a strong hypnotic sound, which heavily appeals to the listeners.
             In the song, "Crossroads", there are several literary techniques which help to create the meaning of the song. The main technique used in this song is foreshadowing, because this song focuses on the issue of "after death", which no one knows of. Also, the use of repetition creates a melodious mood, which parallels to its purpose, "See you at the crossroads/ (crossroads, crossroads)/(so you won't be lonely".

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