It’s time uncredited ‘ghostwriters’ in rap music get their proper due

As an art form reliant on first-person narratives, the stigma of using outside influence or co-writers casts an ominous shadow on many of hip-hop’s greatest artists. For some fans, it gives off a perception of inauthenticity and lack of skill. Despite the damaging stigma, these writers continue to play a major role in the rap music industry.

While some fans in the era of celebrity-producers like Metro Boomin, Tay Keith and Kaytranada, associate rap music with its catchy sounds, beats and melodies, the true essence of the genre lies within the lyrics. Because of — or maybe despite — the value placed on these lyrics, many of the most popular rappers have been known to hire entire teams of songwriters to help write the perfect lyrics.

Within the last few years, megastars like Kanye West and Drake have openly admitted to the use of co-writers — something that Eazy-E or Dr. Dre wouldn’t have admitted in the early 1990s.

Casual fans often overestimate, or underestimate, the value of co-writers in each of their favorite songs. Recent smash hits like “Bodak Yellow” have risen to the top of the charts, featuring as many as six separate songwriting credits.

While some may consider co-writers as a newer phenomenon in rap music, the genre has actually used this songwriting technique since its beginning. On Sugarhill Gang’s 1979 song, “Rapper’s Delight,” one member, Big Bank Hank, called in the support of MC Grandmaster Caz to help write his verse.

You can hear Grandmaster Caz’s influence from the opening line, where Big Bank Hank raps, “Check it out, I’m the C-A-S-AN, the O-V-A and the rest is F-L-Y. You see, I go by the code of the doctor of the mix and these reasons I’ll tell you why.”

The lyrics exchanged in their brief conversation changed the shape of hip-hop and helped to define an emerging genre. While Big Bank Hank rose to stardom off of this iconic verse, Grandmaster Caz ultimately went uncredited. During the industry’s boom during the 1980s and 1990s, similar occurrences of uncredited co-writers, or ghostwriters, became more and more prevalent.

Dr. Dre has famously used the input of co-writers in his lyrics, giving these writing credits to notable rappers such as Snoop Dogg, Eminem and Kendrick Lamar. Eazy-E famously used the help of writer The D.O.C. on many of his verses, such as the ones in “We Want Eazy” and “Alwayz Into Somethin’.” Reflecting on his writing experiences in an interview with VladTV, The D.O.C. said that “it’s all about us building songs together, it’s never one person … unless it’s really about something powerful, then it’s meant to entertain.”

In an interview with Forbes magazine, legendary member of the Wu-Tang Clan and notorious songwriter Smoke DZA said that, while some rappers utilize co-writing in their music, that doesn’t mean they don’t have their own set of talents.

“Some MCs are just great at writing raps and they suck at writing hooks, so they might have somebody write them the hook,” he said.

The importance of credited co-writers is recognized, as many of these songwriters make royalties and commission for the songs they write. On average, songwriters for upper-tier artists make between $10,000 to $20,000 for each song they help create. With such a salary, credited songwriting can be one of the more lucrative roles in the music industry.

As much money as credited songwriters make, ghostwriters often receive nothing for their contributions on major records because they aren’t credited in the song. Co-writers who have accused artists of not paying up can be found everywhere, with Quentin Miller accusing Drake, and Robert Glasper calling out Lauryn Hill for allegedly stealing lyrics on her classic album, “The Miseducation of Lauryn Hill.”

That said, contemporary arguments about co-writers or ghostwriters in rap should not be centered around how using songwriters may affect the perception of an artist’s personal skill level or authenticity. Rather, it should be focused on ensuring that all contributors to a song receive their just and proper dues.

Without a contract or any recorded agreements, many inexperienced writers leave their compensation at the mercy of artists. This trust can prove to be detrimental, as artists leave with their stolen verses and continue making other music. Songwriters must do a better job of protecting their intellectual property to address this issue.

Concerned with the lyrical essence of our genre, songwriters are essential, and it’s our responsibility as fans to truly recognize and appreciate their value.

Jalen Nash is a junior political science major. His music column appears weekly in Pulp. You can email him at janash@syr.edu or follow him on Twitter @ja_nash3.