Remember in 2017 when H had never even been in a 9 month relationship publicly and he teased a guy for being "very happy about his 9 months"? lol. Same energy as him calling out couples for waiting "so long" to get engaged when they've been together 5/7 years. But sure, his longest relationship by far was... 2 years
โฆ yep 2 years thatโs right
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There should be a literary/media analysis term for an avoidant rhyme, in general but particularly in music. I've seen it used frequently enough and with significant skill/effect that it needs an agreed term. For the purpose of this post, I've termed it "avoidant rhyme."
An avoidant rhyme is a device in which a piece relies on and creatively subverts the expectation of a rhyme. I've seen this most in (English, modern) music lyrics. An example would be:
Humpty Dumpty sat on a wall.
Humpty Dumpty had a great dinner.
The effect of the device is twofold: firstly, to subvert the rhyme expectations, often humorously, but secondly to evoke a new message entirely, somehow in conversation with the elided (hidden, avoided) message. It also usually matches the expected meter to push the two messages into conversation more easily.
The Humpty Dumpty example is primarily humorous (bc it's off the top of my head). But in addition to that, it evokes the "great fall" line in its absence while also presenting an image of Humpty Dumpty eating a grand meal atop the wall. This example presents an alternate timeline or universe of the known nursery rhyme, especially as the truncated example.
Three modern songs demonstrate the effectiveness of the device in different ways. (& myriad more, but I've picked three.)
The first song that brought avoidant rhymes (and their lack of terminology) to my immediate attention is 5 foot 9 by Tyler Hubbard, in the very first verse.
Drywood makes good fires
Goodyear makes good swings
First of all, the rhyme expectation is subtle. The first four lines of the song are an ABAB rhyme scheme, but the tempo picks up immediately, implying a CC couplet to close the verse. Additionally, Goodyear is a tire brand, thus closing the verse with "Goodyear makes good tires" would be perfectly sensible.
However, the use of the avoidant rhyme emphasizes the choice to say "Goodyear makes good swings." The device itself does the heavy lifting of calling the full term "tire swing" to mind. And with the surrounding context of the verse, the notable choice of "swing" evokes images of southern summers, swinging over lakes. The implication isn't that Goodyear makes bad tires; it's that Goodyear could make excellent tires, but those tires make even better swings.
The song that came to mind immediately as a broadly acknowledged example of this device is Mr. Brightside by the Killers.
Now they're going to bed
And my stomach is sick
And it's all in my head
But she's touching his chest, now
Perhaps this example is new to some, but I remember popular discourse as a teen pointing out that "chest" doesn't rhyme with "sick" but guess what does.
And yes, this song successfully tricks your brain into expecting the easy rhyme of "dick" and conjuring a more lurid image than the song actually describes. This avoidant rhyme is also cleverly paired with a change in melody from the verse into the pre-chorus, which makes the device more subtle than the previous example.
As a writing choice, it blurs the line between what the narrator is describing and what they're imagining. The lyrics specify "it's all in my head," but like many songs, the lyrics aren't literal. They could be describing a scene they're spying on (she's touching his chest) while imagining another scene (she's touching his dick). It could be a scene in the narrator's head where they've redirected their thoughts because "dick" is a step too far. Regardless of literal meaning, the song effectively deploys avoidant rhyme to present two concepts simultaneously and in conversation.
The final example is perhaps the most common, but I only thought of it because it played on the radio while I was thinking about how to break down the "avoidant rhyme." It appears in the bridge of We Got History by Mitchel Tenpenny.
And I'd be lying if I said
That you don't wind up in my head
This is a much more subtle deployment of the device, but much more common, and I believe it fits in the avoidant rhyme umbrella. (This one has a little more argument-analysis involved.)
The repetition of this lyric is key for this example. The first bridge is straightforward, saying all the words on-beat, and leaving the avoidant rhyme in a gray area. But the second bridge pauses for a before concluding the line, leaving "in my..." dangling for a full four-count.
The avoidant rhyme here is "wind up in my bed," simply because physicality makes being in someone's bed a more logical [abstract linguistic] conclusion than being in someone's head. Without the repetition, the avoidant rhyme can be more easily dismissed as a listener 'reading into' lyrics, but the repetition draws attention back as if to say "no, I did mean that."
The overall message of the song is waxing poetic about good memories and makes very clear that the feelings still linger. That one bar of pause manages to subtly and skillfully turn what could be written off as heartfelt reminiscence into an active invitation. As if the singer is pitching the listener ("you") a softball so they don't suffer a rejection, but leaving the door very open.
I'd love to hear anyone else's thoughts on the topic, or anyone's examples of songs/poems/etc that use this device. This device has always fascinated me (long before the brightside dick-ourse) and I finally found the concoction that coalesced the concept in my head.
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