Hellraiser iii hell on earth Referring to this earlier

Hellraiser iii hell on earth Referring to this earlier definition a written rhyme on non-specific subject matter Big Daddy Kane says, thats really what a freestyle is freestyle, and the real old-school freestyle. Since the early 90s onwards, with the popularization of improvisational rapping from groups/artists such as Freestyle Fellowship through to Eminem s 8 Mile, freestyle has come to be the widely used term for rap lyrics which are improvised on the spot. This type of freestyle is the focus of Kevin Fitzgeralds documentary, Freestyle: The Art of Rhyme, where the term is used throughout by numerous artists to mean improvisational rapping. Kool Moe Dee suggests the change in how the term is used happened somewhere in the mid to late 80s, saying, until 1986, all freestyles were written, and before the 90s it was about how hard you could come with a written rhyme with no particular subject matter and no real purpose other than showing your lyrical prowess. Myka 9 of Freestyle Fellowship explains that Freestyle Fellowship helped redefine the term thats what they say I helped do I helped get the world to freestyle, me and the Freestyle Fellowship, by inventing the Freestyle Fellowship and by redefining what freestyle is We have redefined what freestyle is by saying that its improvisational rap like a jazz solo. Although this kind of freestyling is very well respected today, any emcee coming off the top of the head wasnt really respected. The sentiment was emcees only did that if they couldnt write. The coming off the top of the head rhymer had a built-in excuse to hellraiser iii hell on earth be critiqued as hard A number of rappers learned to rap through improvised freestyling and by making freestyling into a conversation or a hellraiser iii hell on earth game which they played often as described by artists such as MC Shan, David Banner, and One Be Lo in the book How to Rap. In the same book, reasons for freestyling given by K-Os, Bobby Creekwater, Cappadonna, El Da Sensei, and Myka 9 include for entertainment, as a therapeutic activity, to discover different ways of rapping, promoting yourself, being versatile, and as a spiritual activity. Improvised freestyling is also a skill that can be used in live performance, to do things such as giving something extra to the crowd Artists will often refer to places and objects in their immediate setting. Improvised freestyling is also a way of recording songs for albums or mixtapes, as described by Myka 9 or over instrumental versions of recorded Hip-Hop songs. Often, freestyling is done in a group setting called a cypher or as part of a freestyle battle. In these cases, freestyle verses are often prepared in the rappers head as the other rappers in the cypher or the opponent in the battle take their turn. Metaphors and similes are often used when freestyling and a good punch line makes a great impact when freestyling in a cypher. Due to the improvised nature of freestyle, rules for meter and rhythm are usually more relaxed hellraiser iii hell on earth in conventional rap. Many artists base their set on the situation and mental state, but have a ready supply of prepared lyrics and rhyme patterns they can use as filler or even around which they can build their set. T-Love, The Freestyle, in Brian Cross, Its Not About A, New York: Verso, 1 Gwendolyn D. Pough, 2004, Check It While I Wreck It, UPNE, p. 224 Murray Forman, Mark Anthony Neil, 2004, Thats The Joint!, Routledge, p. 196 Raquel Z. Rivera, 2003, New York Ricans From The Hip-Hop Zone, Palgrave Macmillan, p. 88 Kool Moe Dee, 2003, Theres A God On The Mic: The True 50 Greatest MCs, Thunders Mouth Press, p. 22, 23, 101, 201, 226, 228, 292, 306, 327, 328, Divine Styler, in Kevin Fitzgerald director, Freestyle: The Art of Rhyme, Bowery, 20 Kool Moe Dee, 2003, Theres A God On The Mic: The True 50 Greatest MCs, Thunders Mouth Press, p. 10 Kool Moe Dee, 2003, Theres A God On The Mic: The True 50 Greatest Isaiah Clark-Jones MCs, Thunders Mouth Press, p.