This is no longer your big brother’s rap game, where even the notion of ghostwriters being hired to assist on smash records could instantly end careers. This is not even your semi-purist uncle’s Hip Hop where artists strictly go back and forth on wax — one of the cornerstones of the genre. There’s simply no time. The Internet moves way too fast and everyone is trying to beat everyone to the punch. Back in July, Maybach Music rapper Meek Mill took issue with October’s Very Own general Drake, lamenting on social media, saying that the Toronto MC wasn’t helping promote his Dreams Worth More Than Money LP — which he collaborated on. Then Meek committed the ultimate coup-de-grace, or, at least, that’s what he was hoping it was — by revealing online that Drizzy had a little help writing his guest verse on the album for the track “R.I.C.O.” He even went as far as to out the young artist that was collecting the check: Quentin Miller, an Atlanta rapper, well-known in circles as one-half of the WDING CRSHRS. As Drake sat mum, the sometimes-suffocating world of hip-hop judgment swirled around him and everything OVO.
The conversation was: Are we mad that Drake may have had a ghostwriter? Is it acceptable that said writer also “helped” on the rapper’s If You’re Reading This It’s Too Late? The murmurs about Meek Mill’s petulant execution floated, but they weren’t louder than the queries about Miller’s songwriting credits. There wasn’t a word from Drizzy for three days until he dropped the modest diss track “Charged Up.” Meek grew, even more, determined, revealing that he had access to reference tracks in order to prove his point. Here’s where things get interesting: The “beef” began on July 22 by way of Meek’s tweets, “Charged Up” arrived on the 25th (complete with complimentary tee shirts all over Instagram). On the 30th, Meek leaked the Miller reference tracks and before those could even breathe online, Drake—of all people—took Hip Hop beef back to wax, so to speak, in the middle of the night, dropping “Back to Back.” Fatality. On July 31st, Drizzy addressed what is perceived as a growing issue in hip-hop even as he threw his gauntlet down in front of Meek Mill, whose calling card, ironically enough, was a knack for spitting ruthless battle raps on Philadelphia street corners. It was only half a bar, but it was the shot heard around the world: “Trigger fingers turn to Twitter fingers…”
“The way I see it,” says Brian “B Dot” Miller of Rap Radar, “Is that you shouldn’t make private affairs public. Unless you want a public response.”
“I think it’s gonna get worse,” Miller continues. “I think that the more technology evolves and the middleman is cut out, the more artists are gonna react and express themselves on these platforms. Look at Jeremih, he’s throwing his record label under the bus because he can do that on his phone. His own Twitter account.”
The Drake/Meek situation is only one example, but, of course, there are quite a few emcee’s known to beef online or air out their grievances through a keyboard. Wale has found himself in quite a few back and forth online: from his tiffs with his labelmate Meek to everyday detractors. Sometimes it isn’t even an actual war of words, but simply exercising their right to overshare.
It was only last week when news broke that Kendrick Lamar’s To Pimp a Butterfly received 11 Grammy nods and Wale took to Twitter. “New black soul unless ur Wale then it’s too many instruments and hard to understand.” A fan then asked about the two potentially working together and the DC rapper responded curtly, “Ain’t answered that phone since the last nomination. I get the Demi Lavato treatment from him now. It’s hard out here.”
Within the five years that Twitter has been booming, ten since being founded, it’s gotten the fans closer to the artists. Sometimes, too close for comfort but closer still. There’s a sect of Hip Hop fans from a different era that don’t want to be that damn close. “[Social media] humanizes the artist,” B Dot explains. “To me, rappers are like superheroes and I would hate to know that Superman is really Clark Kent. I would hate to see Jay Z spas out about his problems on his Twitter account. It’s just corny.”
“I feel like it’s beneath you,” he adds. “I don’t like it, but I get that it’s in the moment. It’s entertaining but nah, I just want my artists to feel like they’re above the fray when it comes to things like that.”
http://www.youtube.com/watch?v=y2FPhS4cZ9w
Back in the mid-1990s, Kawan ‘KP’ Prather was building his record executive career in Atlanta at LaFace, working closely with artists like Toni Braxton, OutKast and Goodie Mob. These days, he’s pushing the younger generation along and his newest artist Kap G is Mexican-American, from Prather’s College Park hometown and plugged in, working on music with people like Pharrell, one of KP’s best friends. Prather is the guy everyone in Southern Hip Hop knows. Or knows about. Or knows they need to get next to. But long before all of this, he was an artist in Dungeon Family’s P.A. and from an artist’s perspective, Prather thinks online beefs leave much to be desired. “Prior to social media,” he says. “If you ‘felt a way’ about another artist, you first gave yourself a minute to understand your feeling and then you contacted the artist that you ‘felt a way’ about.”
“And if the feeling persisted,” he continued. “You then put it on a record and let your art reflect said feeling. Or you got over it and went back to making your art.”
“I tell artists I work with the same thing that I tell my kids, who I care about more than anything,” he reveals. “‘Think before you post. Social media is for the world. So keep personal feelings/comments/thoughts personal, or contact the person that you want to know these feelings/comments/thoughts and tell that person.’” Sound advice but how realistic is it when the temptation to post a seething remark is at your fingertips.
B Dot adds to the sentiment: “I think any artist is capable of jumping online and reacting, again, what technology has done is empower the artist, so it’s no different than when the LOX stands out against Diddy or Ja Rule got on with DMX. It’s just that the platform was radio. That’s all we had.”
“But now there are so many platforms that the artists feel empowered. They don’t have to call up the local DJ to throw someone under the bus or express themselves. The power is in their hands with their phones. It’s just a new day man. Think about it: when was the last time you heard someone go on the radio and air somebody out? It doesn’t happen anymore. Now it’s only on Instagram or Twitter.”
KP agrees, to an extent. “The Internet can’t make things appear in your personality that weren’t already there,” he insists. “But it does give hypersensitive people too much exposure of those ‘in-the-moment’ thoughts. The problem with social media is that the moment often passes, but the thought remains for the entire world to reference. Forever.”
“Technology has enabled everybody. It’s leveled the playing field,” B Dot adds.
There’s something to be said about so much having changed in less than a decade. Scary, even. So you can imagine that it’s near science-fiction, thinking of whether or not this sort of loose public behavior would fly during Hip Hop’s Golden Era in the mid-1990s. Would Biggie be on Twitter beefing? Would ‘Pac? Is it fair to hold today’s rappers up against iconic figures who’ve been dead and gone for a couple decades now?
“I would like to believe that the ‘code’ would not have allowed artists to air their emotions out online,” Prather says firmly.
“Not without a beat playing under it,” he adds. “But I’ve seen people that I truly respected, and expected more from be very anti-’code’ in the wake of social media.”
Where’s the line these days? Is there even one? Or are we, as B Dot says, the old heads “shaking our canes” at the neighborhood kids?
“It’s hard to tell,” B Dot shares. “That particular beef [between Meek and Drake] is really representative of how the game is shaped and that social media has taken on a life of its own. Back in the day, I think it would’ve been solely on wax because that’s all we had. We had mixtapes, but the platform was limited. Either those or radio, so I think it would’ve played out differently back in the day.”
Still, even with music fans thirsty for the drama to be played out within hours on the Internet, this recent issue between Drake and Meek Mill has spawned copious think pieces and the like, pondering whether or not it’s good for hip-hop. The irony, again, is that a battle rapper taunted a hitmaker for hiring help, an action typically considered deplorable in Hip Hop. But what about the protocol he took? Is that Hip Hop now? Needling your adversary online?
“For the fans I guess, it’s a great thing,” B Dot explains. “But it’s instantaneous, the reaction. But a part of me also likes the way it used to be because an artist would express themselves and we’d have to wait to get a reaction.”
“It made things a little more anticipated because we didn’t know how a person was gonna react. So if a person said something in a magazine, we had to wait a month and a half or so until the next issue came out to get a reaction.”
Meek is an immense talent. Always has been. He’s a refreshing throwback to what made many love the art in the first place. His intensity and wordplay are reminiscent of what artists did back in the day — especially back in the Golden Era — but that’s just it. Meek was inspired by the older cats, but he is a product of this generation. He’s a rapper with access. He made the ultimate mistake by picking a fight he didn’t prepare for, online, in front of everyone — because the platform was there. And now that “finish him” track is nominated for a Grammy. If “Back to Back” actually wins, it’d be like twisting the knife. Here’s the thing: none of us can go back in time. Social media is, apparently, here to stay but if rappers are going to go that route, a strategy is key. Meek should’ve — and could’ve — been ready.
“Absolutely,” B Dot states. “Because at the end of the day, tweets are tweets. Comments are comments, but music is the cornerstone of this shit. I think you should react pretty swiftly.
When Nas hit with “Ether,” Jay came back with “Super Ugly” pretty fast. Considering the day and age, we were in at a time. You gotta back your shit up and tracks are what do that.”
this article is interesting but like so many think peices -its filled with romanticization of the past of hiphop. a past which only exists in the heads of hiphop purists (suburbanites who believe urban legends. Credited collaborators or so-called ghostwriters which btw wasnt the case here are as old as hiphop. LL Cool J wrote for Run DMC, Big Daddy Kane wrote for Biz Markie, Run DMC has written for the Beastie Boys, Paris has written for Chuck D, Ice Cube wrote for Easy-E, Rza wrote for ODB, Method man has wrote verses for Ghostface Killah, Mase wrote for Big L, Nas had rhymes edited by Large Profressor and stic.man, q-tip wrote phife dawgs verses on their first album …..people people people…no one cared then, no one cares now accept wanna-be fans who live in a fantasy world…the accusation leveled at Drake was dismissed because it is as old as time and no one cares. Artists draw inspirations from all kinds of places. It takes nothing from his talent. Get over it
And none of those guys r consider a great so people did and do care u must be one of those souija boy or migos fan get the fuck out of here the great ones write their own shit
Nas, Ghostface, Big L, Chuck D – not considered great? really? ok man
I feel what you’re saying but it’s not an excuse. The point is that Drake is as fake as it comes and maintains this fake persona for his fans. He claims he wants the fakes to be exposed but gets mad when Meek called him out. Don’t you dare compare Nas to Drake when Nas had ALL rap albums. If he needed help it makes sense. But Drake albums are half rap and half rnb so he raps less than Cole and Kendrick and everyone he proves to be better than. No excuses. Also if everyone has a ghostwriter, why did Drake feel offended at Meek? Why didn’t he brush it off and just let it be? Because real MC’s don’t need ghostwriters and Drake isn’t one
Nope, most of HOV songs have writing credits by other artists, just go read the liner notes from any of his albums.
Drake is a great MC. Nas is a great MC. If you know the essence of hiphop which isnt poetry but sophisticated wordplay and about (as KRS-one says) “moving the crowd”, Drake is an exceptionally talented MC. In fact, he has a very classic-style to his bars. The fact he can sing is just a bonus and a pain point for purist because (naively) believe hiphop and R&B cant be mixed and this means he is a “studio” rapper but unfortunately, despite their attempt to label, does not fit such simplistic definitions. He is a much better rapper than Ja Rule and Nelly. and anyone who understand just little about lyrical wordplay can see this. This is why all the great MCs from Eminem, Jay-Z, Ghostface and Nas are on record as fans of Drake. Regular folk dont get it becuase they dont understand what a MC is supposed to do. Drake attacked Meek becuase his claim was a huge exagerration. He claimed Drake doesnt write ANY of his bars and employs a ghostwriter. Plenty of evidence suggests Drake has credited collaborators who assists with his bars sometimes. Big deal. There probably isnt a major MC who doesnt or hasnt especially for hooks. Even the reference tracks show some bars/hooks here and there possibly but not any finished products. Notice how many MCs are so silent about the ghostwriting accusation? Because
what happened is normal in the industry. And his so-called ghostwriter even denies writing for him. Drake attacked Meek Mill becuase he was slandering him and his reputation. It was a smart move becuase evidenced his writing skill by his speed of responding at the same time. And Btw, there is eyewitnesses who claim he wrote “Back to Back” in quick succession. The truth is its been a hiphop purist fantasy to “get Drake” from day one. Its like Fox News trying to get Obama. Trying to find someway to prove he is a fake becuase he is too good-looking. Always trying to find some flaw with Drake not becuase he is not a great MC but becuase he is Canadian, light-skin, clean-cut, soft-looking and doesnt act like a fake drug lord. Garunteed if Drake was some dude from the Bronx, 50% of so-called purists (white dudes from suburbia btw) wouldnt be saying much (sure, theyd be complaining becuase thats what purist do – they hate change and innovation) but garunteed they wouldnt be as critical of Drake if he looked different and was somewhere else. dont worry about Drake’s look and his sweaters…listen to his bars. Your favorite MC with their trashy goatee and AK-47 is actually more manufactured than Drake who rhymes about falling in love with strippers and missing ex-gfs. His bars are right up there with the best but you cant admit it becuase of Drake’s look – not his skills on the mic. Learn your hiphop fool. Ur thinking is conventional
Meth wrote for ghostface? Link or stfu
..very thoroughly analyzed,..the drake (0vo) playbook has definitely morphed into a hip-hop /rnb genre by itself, unique unapologetically slightly effeminate and yet has a broad masculine appeal…
How many of those great MCs that cosigned Drake came after he was exposed? When kendrick was in Motown recording love game Em kicked all Kendricks boys out of the studio just to be sure no one else was writing his bars for him.. I’m sure he feels differently about drake now. Drakes a talented kid, but he’s not a MC.
OK you are aware that writing music doesn’t mean only lyrics right? If you are composing a beat you are writing music. Just in case you didn’t know…
When hip-hop started djs were the stars and the MCs were basically hype men. As hiphop evolved the term MC changed and became as important as the djs, they started battling. The current definition of a MC is a lyrically complex story teller/battle rapper. MCs write their bars, the art of an MC is sacred. The hiphop purists are the only ones holding this shit together. You need to bow down, show them respect.
Yep, HOV had lyrics by Kanye. HOV uses more credited writers then everyone above combined by no one cares.
You are wrong. Learn hiphop dude.
wheres the code at cetain rules need to be followed to stop men from acting like girls
get your music sold and heard http://46519cfjh4qdx3i1usn3nhmv4i.hop.clickbank.net/?tid=M97
“When Nas hit with “Ether,” Jay came back with “Super Ugly” pretty fast. ” However, “Super Ugly” was forgotten as fast as it was released, so be ready and have a GOOD track that they people will actually like. Everything was all over and wrapped up when Ether hit, it’s like people forgot this undeniable fact. The only thing people commented on “Super Ugly” was the fact that Jay stepped WAY over the line after being beat so badly by “Ether”, once you have to start dissing a mother and a child to get at an adversary you pretty much are gifted with the biggest eternal L in life. Also, this stepping over the line is what made HOV’s mom force HOV to publically apologize , the infamous HOV crying on the radio interview…… But hey who gives the fuck about facts today?
Correct, Nas wrote the lyrics and Ron Browz got a writing credit for producing the beat on Ether.
Or are you implying that you need total ownership, musically and lyrically, for a song to be written by one person?
If that’s the case, Takeover was not written alone by Jay Z, as Kanye West has a writing credit on that track as well. Maybe you should do your research?
Kanye Produced the beat. He did not write or help write the lyrics for takeover. That is a fact! I’ll hit you with another fact… Yes Ron Browz produced the beat for Ether but he also helped write the lyrics too. His real name is Rondell Turner and he was credited as helping Nas write Ether. Like Kanye, he was a producer/ rapper and he was a ghostwriter for a lot of dudes from NYC back in the day. Also a fact!
Yeah, you need to check your facts because Ron Browz aka “Rondell Turner” has said it multiple interviews he hasn’t written the lyrics for Ether and only did the beat. Also, writing credits usually do not discern between lyrics and music production.
So, the fact is you’re fucking 100% wrong.
Ether was written by two people, Nas being one of them. Jay wrote Takeover be himself and went at a few artist, not just Nas. So do your research
But Jay is married to Beyonce and hast more money than Nas
Who really lost?
Beyoncé…. Not only is HOV riding off her coat tails but she has to wake up to that face every morning.
What’s money got to do with tapping?u the type of nigga that Google’s to see how much rappers are worth.Getting excited about another niggas money snh
I don’t care what anyone says.. If you don’t write your bars you are not a MC. Drake a manufactured popstar and there’s nothing wrong with that, as long as you admit it and you don’t claim to be among the goats. He has artists write his music, he’s more famous for his lifestyle and celebrity bitches he fucks than his music, doesn’t come from struggle, has a team to manage your image, That’s a pop star under the hiphop format. Performer not an artist. Every MC is a rapper, not every rapper is a MC.
You’re overthinking it and you really don’t know the full situation. He really doesn’t have to answer to anyone if you think about it? Who’s really asking? A few thousand rap heads that think they know better about what’s good for hip hop or the millions who relate to his music and appreciate what he brings to the table? Before you hurt yourself trying to come up with a decent response – bottom line is he’s the biggest rap artist in the works at this moment…he didn’t get there by being manufactured. Meek “tried” to expose him not for any reason but for self gain. He wasn’t trying to help hip hop – he was trying to help himself and it backfired. Plain and simple. Lessons to be learned here.
Ok. Guess you saying if someone takes a couple written bars and hooks or has a credited collaborator for writing, then, they aint a MC? Correct? ok. then we must scratch off the MC list: Ghostface Killah, Run DMC, Nas, Phife Dawg, Jay-Z, Big L, Ol Dirty Bastard, Biz Markie, Lauryn Hill off the list then. If we take off the list anyone has been accused of having a ghostwriter then, you have absolutely no one decent on your MC list as everyone from Eminem to 2Pac has weird writing credits and writers claiming ghostwriting credits. so good luck with that philosophy man.
y’all can say whatever the fck y’all want but Drake been writing his sht since he was a teenager there’s proof on the internet fcking haters lol
it’s verifiable that someone has written a full songs for drake. that is completely unacceptable. a bar or so to assist with writers block? that is not a bad . e but full songs? you guys love to support frauds. drake is amongst the biggest frauds in music history. ev
Yea, Drake does write. He just didn’t write most if not all the bangers on “if your reading this”.
I mean just listen to the dude Q.Miller and tell me miller’s style is not all over that album. And you can’t brush off those reference tracks form Miller. They were made for a purpose. And if you think that Drake didn’t have any help writing on “if your reading this” or any other album,.. Your in denial. But real talk, shit don’t matter these days but at the same time, don’t front. Admit that shit. Don’t go Calling your Self the best and turn around handing over someone else’s swag.
MEEK AND DRAKE ARE BOTH TERRIBLE. I HATE THE VERY EXISTENCE OF BOTH. ESPECIALLY DRAKE.
Illuminati shit,,,,,,,, bitch ass gay modafuckas nominating Drake back to back for grammy…… Y’al suck as hell. Selfish modafuckas,,,,, who is Drake by the way? With his nursery rhyme. Toronto gay who is making hip hop stink.. A pussy,a phoney like him…. People ghostwriting for him. That’s fuck. Back to back is too whack to be nominated for grammy,,,,,, what about tupac-hit them up?….what about Nas-wit Ether?…. Were they nominated for any grammy? Nah…… Why?….. Hatin shit and I called that selfish and jealous bcoz meek mill is going further and gays partner and the media are trying to ruin his career. Love u meek til I die.
Yo! DX! Where is the real hiphop writers?! You co-sign ghostwriting and fake shit!!! Why?!