OK I've definitely scoured some of these posts and I wanna touch on something third was expressing frustration about translating elsewhere...
Proper Rappity Rap is a strange thing because it goes in relation to the sounds of organic drums. The sampled drums, the loop. This sort of cyclical, insular, almost waltz-like existence (not so much in the actual 3/4 time signature but the sense that you know you're supposed to endlessly repeat a pattern and so you can rely on that as a heartbeat).
Kool Keith is a very interesting suggestion because he picked up on something from rap outside of NYC who are more or less the initiators of this school of thought for rap as both a imposition of sampling as an aesthetic from the top down. Remember, sampling was a art-class thing from the Art of Noise and that like which then had to be duplicated OR was to emulate the ability of DJs and MCs from Disco. Thus sampling is inorganic to America in this sort of fixated format because that situation doesn't exist outside of New York City (very similar to what I spoke about in another thread about Disco being urbane and East Coast Elite). Keith, in just casually paying attention to rap outside of NYC out of boredom, noticed just how little rap outside of NYC sounded like it, but could still sound like it's peers in the rest of the country. Texas rap emulated G-Funk, as did Midwesterners who also emulated Memphis Rap, who also emulated New Orleans and Florida. The ideas from NYC they got had to slowly be transmitted over the course of years so that an idea could fully gestate leading to the 'localized' versions. Just as an example:
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https://www.youtube.com/embed/mg_7nX0Fj5I" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> A young Mannie Fresh with Gregory D, a very NYC styled rapper. BUT! It's in 1987 in which KRS-One, Big Daddy Kane, Rakim, NYC is already advanced beyond the Run-DMCisms of Gregory. NYC was able to accelerate itself in technique thanks to it's constant electricity of the 5 boroughs speeding itself along insularly but the rest of the country lacked that sort of access and thus moved at a more glacial pace. That was to their advantage though as through the speed NYC became overly solidified to the point of crystallization. They deepended to much on those drums whereas the rest of the country relied on the 808 weight and the SPACE to develop their voices as the rhythm. My dad used to have issues with this, complaining about Southern Rappers being 'so slow they can only rap exactly on the beat' not realizing They Are The Beat. This is why Keith would later go out of his way to emulate Bay Area or Southern Rap. Plenty of experts thought it was parody but my personal understanding is Keith just found their approach so much more liberating, especially when you consider that he was a Zulu Nation kid originally and had grown up with a much looser understanding of hip-hop than the tiring jazz-trad hegemony of loops and samples.
To go back to something Web/Odai brought up: in this regard I would NOT actually say Freestyle Fellowship were able to deconstruct rap, because they're formalists or perhaps modernists are the exact term. They're consciously operating in an extreme and excessive version of East Coast aesthetics, they're not interested in West Coast Rap's original primordial ooze form from Too Short or the like; instead they want to be like the Rakims or the Kool Keiths (specifically of Ultramagnetic).
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This, as you see, has nothing to do with
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BUT it does have more to do with:
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That's my offering for some stuff. I gotta meditate more on pointing at modern things.