if you rap, nobody should be writing anything for you.
only thing, that could be written for you.
argueably, is a submission out of the culture and genre like an rnb hook.
the same rnb hook, which is not even supposed to exist at all.
in any semblence in rap to begin with anyway.
After, the krs one phasing out of the old school way of thought.
Which eliminated beaugoise/toys/frauds/disco/worship of monolithic gold/.
from being fake planted false integral components of the culture of hip hop indefinitely.
a while later after krs took out the old school way of thought and the practices in business.
by re-writing and proposing most standard rap deals while at rca.
plus, traveled to public schools and changed the social conscious of young kids in the actual large urban scholastic areas in america.
example, ny to chicago,...to the point.
krs visiting south shore highschool is still revered by some of the most on the fringe guys i know streetwise who don't give not one iota indepthly about hiphop.
yet, will refer to krs visiting their school, and marching down the hallway performing is their greatest memories.
from someone who was a public figure of any type showing they cared.
rakim, a bit later in the new school way of thought.
rakim was asked to take on the feat.
of making a bpm slowed feature with Jody Whatley.
whatley, personally requested rakim.
all, from a completely unsolicted public pr platform and request artistically.
all because she wanted to actually hear the best person possible.
to rap on a sonic landscape that is virtually impossible.
including, disprove the fact that it was technically impossible to use the new school way of thought slow flow skill set to rap in a sonic landscape with bpm's that slow.
while maintaining vocal tonality/clarity/convincability while also never losing the actual flow and going offkey as well.
plus, disprove that the draw of anything associated with hiphop and rap was a fad.
after commercialism destroyed the business sectors.
of every other pillar of hiphop's business components in graf, break'n, dj'n.
leaving only rap as the last viable business manifestation of the culture of hiphop.
as, a draw moving forward in time.
it was pretty much a skill challenge and technical historic feat for credibility.
after the culture separated itself from the disco dance club portion of where hip hop originated from.
so, the idea that rap had erroded.
or was a fad could be dispelled.
When, rap was phased out of any future possible lanes to draw.
during the years that rap was thought of as a fad and hip hop was not a mainstream term.
for toys to just loosely throw around like they are in the know and fake jax like now.
the idea that rakim took on this feat.
was in itself a one time thing and not used as ago to play.
till much later and the erosion of the cultural mechanism began with the prison economy system in the same time frame almost.
anyone who did rnb records feature records outside of rakim were boycotted and forced into non-draws on all levels.
plus, were boycotted as a result of the cultural slight from mc hammer/vanilla ice.
as a matter of fact, after that.
The only actual credible rnb feature record made after that.
was first saturday, by dela soul.
which was a feat artistically and incorporated.
what would soon become fleshed out further by erica badu in genre and even name, as neo soul by ms mojica.
the inclusion of it on mtv as a visual and the actual quality of the record.
to distance itself from most rap records in that time and all time.
if not for the delay and piss poor print run of breakin atoms and large pro's culture saving video debut submission of;
MAIN SOURCE
LOOKING AT THE FRONT DOOR
which is one of the lead knights of the templar and the yoda to nas.
pretty much created what could be deemed.
the perfect commercial submission for a love content/conflict style record.
opened up a dialogue or the possible ability for another record to resonate and have cultural credibility.
Which created WHAT WOULD BE USED AS THE blueprint/content for credible leniency for an rnb feature was:
DIAMOND D
SO CONFUSED
yet, after that the same leniency used for diamond d.
[later that cultural leniency was stripped. when diamond and all of ditc sold out except finesse.
on diamond's subsequent delayed jiggy sellout followup after his fugee sixteen mill platinum run.]
in the original time frame of the release of so confused.
the cultural leniency provided to diamond d and rnb features was stripped down and resulted on Mary j Blige, culturally.
yet, resulted in pop/commercial success for blige
as it is believed that mca/puff stole the thunder of miss jones.
[which is why az is given the pass, and cred with sugar hill. for having the first high selling credible rnb/rap feature in new school way of thought history.]
after the cultural sentiment for miss Jones, don't take it personal.
was used as a cultural lenchpin in a sign of good faith.
which is also why az as an artist is bullet proof.
plus, miss jones as a radio personality was allowed to be so aggressive when need be till her demise as a radio personality top flight draw as well.
the lack of draw for miss jones, and later the commercial mca offering of blige, on 411.
caused slight cultural disconnect and discomfort for grand puba.
for flanking Blige as an old mca liason from mc lyte.
which resulted in his disconnect in his debut solo career sales wise.
then, a few years later would eventually slight his credit for helping rap grow the fukk up.
on rap's first full upgrade in maturity on his follow-up release 2000.
sonically, and in tone/content from an artist.
so, when puba elevated rap and was later followed by lord finesse.
on finesse's legendary up in skill release on the awakening, in the same type of direction artistically.
the commercial window for real culturally submitted rap and artist was closed from doing rnb features.
which allowed sellouts who already used pop associated features.
that were never cultural associated or submissions.
To take and eventually use a discovery zone to infiltrate and destroy the cultural mechanism of rap from the culture.
when, this discovery zone was made into actualization by puff's cultural abomination of hiphop, the return to wack sellout beaugoise destructive rap in the jiggy movement.
flanked by his pr, of stealing and warping the term:
playa hater
rap, is not rnb.
trying to make it into and emulate any creative braintrust rnb uses will.cause the destruction of rap.
As rap and hip hop is the antithesis to the gay sonic landscape and culture of disco/rnb.
that is also why there are no gays in hiphop.
these are the dangers, if you nikkaz knew the culture.
you would be vehemently against as they are used as internal coup based weapons towards the culture.
plus, any and every available avenue of viability/sustainability to hiphop globally.
which includes commerce and business, and yes that includes the last business component that draws in rap.
get rid of these sellouts,......
all of them,...if you don't.
you will be back to what 1984 was, and you WILL SEE THE END OF RAP MUSIC ALL TOGETHER, period.
plus, the ability to show you are a hetero sexual masculine male as well.
don't believe me,...keep living history that was diverted by krs and allowed us thirty more years of commercial viability to draw.
stop giving sentiment to gays, gay culture.
which is what disco/rnb/pop is.
you nikkaz, are retro-acting wars.
bboys/bgirls already won and made it so you could have a culture to resonate with.
keep following that rnb/disco/pop bullshyt and see where it leads you.
i know, i already seen rap almost die.
just like i already seen video games almost die.
keep playing, and you won't have shyt.
you don't know how wack and swaggerless shyt is, and how they can make it be with no avenue for change/cultural difference.
none of you nikkaz would have made it when rap was not on the radio at all.
you nikkaz weren't cognitive when this shyt was occuring so you think it is a joke.
allowing will smith part two to even have a stage to ever walk on.
nikka, should have been pm dawned immediately.
only reason he got to even flex is cause q-tip soldout the native tonuges cred in full.
with hype williams and vibrant thing and then followed it up.
with even more low quality low skilled bullshyt sellout music.
plus, the murdoch cultural damnation saga from rawkus records.
combined with el p being the white sellout underground equivalent of puff.
coupled with hiphopinfinity.com racist propaganda and commercial apologist sentiment.
so, anyone making native tongues or what would become major label pop emo.
which is all that drake makes.
would soon become the reduced draw pop model that rap is based on.
after the victory lap of the sales spike era was being moved on from.
art barr
True but you're assuming that Drake's whole verses aren't written by him because Meek said they weren't. 
Personally all these dudes are the same to me.
Drake and Joey. Drake and Joey. Reread the post, that's more than one dumbass. You still reading Phonix breh?
i wonder if he wrote this or whether his team had to come up with it!!
