Hip-Hop's Verse Problem: Who Is Writing The Rhymes?
posted in: Features • Music News • Pop • Urban
It shouldn’t be necessary to explain the importance of lyricism, historically speaking, in hip-hop. Sure, many could argue that, in today’s rap game, complex wordplay and internal rhyme schemes have taken a back seat to hashtaggable punchlines and atmospheric delivery. They’re basically right. But going back to the ’80s and ’90s, to the cultural conventions that helped birth hip-hop, what you said and how you said it was of upmost importance. So what happens in hip-hop when your words aren’t your own?
Writer dream hampton is deeply ingrained within the New York City hip-hop community. She’s hobnobbed with emcees, producers, and musicians for most of her professional writing career. And not for nothing, but she’s pretty good friends with Jay-Z. Hampton is so close with the second richest man in hip-hop that she co-wrote his quasi-autobiography Decoded in 2010. She’s also written with Q-Tip and filmed Notorious B.I.G. for a project she worked on during her days as a student at NYU. It is safe to say that she is a voice of authority in the hip-hop community. So imagine the fuss she caused when she tweeted a rather incendiary assertion.
In response to a message regarding Jay-Z’s perceived image concerns and rapper Nas‘ 2008 album Untitled, hampton wrote, “I think Jay writes what he believes. Nas’ “Nigger” album was largely written by [stic.man] of dead prez and Jay Electronica.”
It’s hard to image a better way to rile up passionate hip-hop fans then to state that one of the most celebrated lyricists of all time would utilize the talents of an outside writer. Nasir Jones’ reputation rests on the staggering delivery of his deeply literate rhymes. A singles rapper he is not. And with one exception, the man is not know for crafting great hooks. Without the dizzying wordplay presented to the world ” first and foremost ” on his classic debut Illmatic, Nas simply wouldn’t be where he is today. A statement like hampton’s was read as a combination of shade throwing and of stirring the proverbial pot between Nas and Jay-Z. Of course it was neither of those things. The tweet was part of a conversation thread where hampton was waxing philosophic on black philanthropy and charity.
Ghostwriting is hip-hop’s open trade secret. It’s known that many rappers have made careers writing bars for other established stars without a credit in the liner notes. Dr. Dre has allegedly utilized the services of Ludacris and others while working on his long awaited third studio album Detox. Diddy has been a little less than coy about his use of writers for his songs; Pharhoe Monch and Royce Da 5′ 9” have both claimed to have written for Sean “Puffy” Combs. It’s not hard to believe after listening to a track like “The Future” off of Diddy’s 2006 effort Press Play, allegedly written by Monch, which sees Diddy sporting an out-of-character flow and a stuttering cadence. By the way, the song is pretty thrilling.
The Diddy and Dre examples serve to illustrate that certain figures in hip-hop have transcended the baggage that might come with being a more renowned writer. Diddy and Dre aren’t just rappers anymore; they’re franchises. Producers are brought in to lay down a beat. Writers may come in and contribute a verse or a hook or a line. Crooners will handle the choruses. After a handful of guest spots and a few studio sessions later and the songs are in the can. From there, it’s off to other profitable ventures like selling vodka or headphones. Rappers whose pens carry greater renown, rappers like Nas, carry a heavy burden in their authenticity. While accusations of “selling out” don’t plague hip-hop they way they do other genres, it is still important for rappers to maintain appearances. And the appearance of being a writer and lyricist of note is the one that can be sullied very easily.
That’s why ghostwriting shouldn’t be condemned to the extent that it has been. While the street level may call for certain levels of “authenticity,” most of the guys getting accused of using outside writers aren’t at that level anymore. They’re pop stars. One surprising voice in defense of this view on ghostwriting is Immortal Technique. During an interview with HardKnockTv, Immortal Technique commented on the Nas ghostwriting controversy, saying that, “In acting, people know you have a script. George Clooney ain’t write his lines… A director told you to do that, my dude. Your swag is given to you by somebody else that understands the game.” He then goes further into the parallels between acting and rapping, alluding to the fact that many rappers that claimed to have murdered someone or done prison time have, believe it or not, done neither.
As for the players linked to Nas as ghostwriters, Jay Electronica stated unequivocally that Nas, “never has and never will need a ghostwriter.” Stic.man, on the other hand, neither denied nor confirmed the rumors when he took to his Facebook to say, amongst other things, that “I assisted where it was requested with ideas, beats, and some writing. Not because Nas “needed” me lol…Again I was just honored to get the call.” He also said that people who weren’t present at the sessions shouldn’t really speculate on matters about which they have no knowledge. Which is true, but where is the fun in that?
One last wrinkle to this ghostwriting episode. Nas, hardened emcee and rapper that he is, should also be commended for his flexible creativity. After all, he supposedly wrote “Gettin’ Jiggy Wit It” for then-label mate Will Smith.
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