Rapping (also rhyming, flowing, spitting,[1] emceeing[2] or MCing[2][3]) is an artistic form of vocal delivery and emotive expression that incorporates "rhyme, rhythmic speech, and [commonly] street vernacular".[4] It is usually performed over a backing beat or musical accompaniment.[4] The components of rap include "content" (what is being said, e.g., lyrics), "flow" (rhythm, rhyme), and "delivery" (cadence, tone).[5] Rap differs from spoken-word poetry in that it is usually performed off-time to musical accompaniment.[6] It also differs from singing, which varies in pitch and does not always include words. Because they do not rely on pitch inflection, some rap artists may play with timbre or other vocal qualities. Rap is a primary ingredient of hip hop music, and so commonly associated with that genre that it is sometimes called "rap music".
Precursors to modern rap music include the West African griot tradition,[7] certain vocal styles of blues[8] and jazz,[9] an African-American insult game called playing the dozens (see Battle rap and Diss),[10] and 1960s African-American poetry.[11] Stemming from the hip-hop cultural movement, rap music originated in the Bronx, New York City, in the early 1970s and became part of popular music later that decade.[12] Rapping developed from the role of master of ceremonies (MC) at parties within the scene, who would encourage and entertain guests between DJ sets, which evolved into longer performances.
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Rap is usually delivered over a beat, typically provided by a DJ, turntablist, or beatboxer when performing live. Much less commonly a rapper can decide to perform a cappella, meaning without accompaniment of any sort, beat(s) included. When a rap or hip-hop artist is creating a song, "track", or record, done primarily in a production studio, most frequently a producer provides the beat(s) for the MC to flow over. Stylistically, rap occupies a gray area between speech, prose, poetry, and singing.[13] The word, which predates the musical form, originally meant "to lightly strike",[14] and is now used to describe quick speech or repartee.[15] The word had been used in British English since the 16th century. It was part of the African American dialect of English in the 1960s meaning "to converse", and very soon after that came to denote the musical style.[16] The word "rap" is so closely associated with hip-hop music that many writers use the terms interchangeably.
The English verb rap has various meanings; these include "to strike, especially with a quick, smart, or light blow",[17] as well "to utter sharply or vigorously: to rap out a command".[17] The Shorter Oxford English Dictionary gives a date of 1541 for the first recorded use of the word with the meaning "to utter (esp. an oath) sharply, vigorously, or suddenly".[18] Wentworth and Flexner's Dictionary of American Slang gives the meaning "to speak to, recognize, or acknowledge acquaintance with someone", dated 1932,[19] and a later meaning of "to converse, esp. in an open and frank manner".[20] It is these meanings from which the musical form of rapping derives, and this definition may be from a shortening of repartee.[21] A rapper refers to a performer who "raps". By the late 1960s, when Hubert G. Brown changed his name to H. Rap Brown, rap was a slang term referring to an oration or speech, such as was common among the "hip" crowd in the protest movements, but it did not come to be associated with a musical style for another decade.[22]
Similarities to rapping can be observed in West African chanting folk traditions. Centuries before hip-hop music existed, the griots of West Africans were delivering stories rhythmically, over drums and sparse instrumentation. Such resemblances have been noted by many modern artists, modern day "griots", spoken word artists, mainstream news sources, and academics.[27][28][29][30] Rap lyrics and music are part of the "Black rhetorical continuum", continuing past traditions of expanding upon them through "creative use of language and rhetorical styles and strategies".[31]
Blues, rooted in the work songs and spirituals of slavery, was first played by black Americans around the time of the Emancipation Proclamation. This way of preaching, unique to African-Americans, called the Black sermonic tradition influenced singers and musicians such as 1940s African-American gospel group The Jubalaires.[32][33][34][35] The Jubalaire's songs The Preacher and the Bear (1941) and Noah (1946) are precursors to the genre of rap music. The Jubalaires and other African-American singing groups during the blues, jazz, and gospel era are examples of the origins and development of rap music.[36][37][38][39][40] Grammy-winning blues musician/historian Elijah Wald and others have argued that the blues were being rapped as early as the 1920s.[41][42] Wald went so far as to call hip hop "the living blues".[41] A notable recorded example of rapping in blues was the 1950 song "Gotta Let You Go" by Joe Hill Louis.[8]
Jazz, which developed from the blues and other African-American and European musical traditions and originated around the beginning of the 20th century, has also influenced hip hop and has been cited as a precursor of hip hop. Not just jazz music and lyrics but also jazz poetry. According to John Sobol, the jazz musician and poet who wrote Digitopia Blues, rap "bears a striking resemblance to the evolution of jazz both stylistically and formally".[9] Boxer Muhammad Ali anticipated elements of rap, often using rhyme schemes and spoken word poetry, both for when he was trash talking in boxing and as political poetry for his activism outside of boxing, paving the way for The Last Poets in 1968, Gil Scott-Heron in 1970, and the emergence of rap music in the 1970s.[43][44][45][11] An editor of the newspaper, The Fayetteville Observer interviewed Bill Curtis of the disco-funk music group the Fatback Band in 2020. Curtis noted that when he moved to the Bronx in the 1970s he heard people rapping over scratched records throughout the neighborhoods and radio DJs were rapping before the genre was released on retail recordings. The Fatback Band released the first rap recording King Tim III (Personality Jock) a few weeks before the Sugarhill Gang in 1979.[46] In another interview Curtis said: "There was rapping in the Bronx and the cats there had been doing it for a while...Fatback certainly didn't invent rap or anything. I was just interested in it and I guess years later we were the first to record it. At the time you could already see cats rapping everywhere in the streets and doing stuff."[47]
With the decline of disco in the early 1980s rap became a new form of expression. Rap arose from musical experimentation with rhyming, rhythmic speech. Rap was a departure from disco. Sherley Anne Williams refers to the development of rap as "anti-Disco" in style and means of reproduction. The early productions of Rap after Disco sought a more simplified manner of producing the tracks they were to sing over. Williams explains how Rap composers and DJ's opposed the heavily orchestrated and ritzy multi-tracks of Disco for "break beats" which were created from compiling different records from numerous genres and did not require the equipment from professional recording studios. Professional studios were not necessary therefore opening the production of rap to the youth who as Williams explains felt "locked out" because of the capital needed to produce Disco records.[48]
Gil Scott-Heron, a jazz poet/musician, has been cited as an influence on rappers such as Chuck D and KRS-One.[55] Scott-Heron himself was influenced by Melvin Van Peebles,[56][57] whose first album was 1968's Brer Soul. Van Peebles describes his vocal style as "the old Southern style", which was influenced by singers he had heard growing up in South Chicago.[58] Van Peebles also said that he was influenced by older forms of African-American music: "... people like Blind Lemon Jefferson and the field hollers. I was also influenced by spoken word song styles from Germany that I encountered when I lived in France."[59]
One of the first rappers at the beginning of the hip hop period, at the end of the 1970s, was also hip hop's first DJ, DJ Kool Herc. Herc, a Jamaican immigrant, started delivering simple raps at his parties, which some claim were inspired by the Jamaican tradition of toasting.[63] However, Kool Herc himself denies this link (in the 1984 book Hip Hop), saying, "Jamaican toasting? Naw, naw. No connection there. I couldn't play reggae in the Bronx. People wouldn't accept it. The inspiration for rap is James Brown and the album Hustler's Convention".[64] Herc also suggests he was too young while in Jamaica to get into sound system parties: "I couldn't get in. Couldn't get in. I was ten, eleven years old,"[65] and that while in Jamaica, he was listening to James Brown: "I was listening to American music in Jamaica and my favorite artist was James Brown. That's who inspired me. A lot of the records I played were by James Brown."[63]
However, in terms of what was identified in the 2010s as "rap", the source came from Manhattan. Pete DJ Jones said the first person he heard rap was DJ Hollywood, a Harlem (not Bronx) native[66] who was the house DJ at the Apollo Theater. Kurtis Blow also said the first person he heard rhyme was DJ Hollywood.[67] In a 2014 interview, Hollywood said: "I used to like the way Frankie Crocker would ride a track, but he wasn't syncopated to the track though. I liked [WWRL DJ] Hank Spann too, but he wasn't on the one. Guys back then weren't concerned with being musical. I wanted to flow with the record". And in 1975, he ushered in what became known as the "hip hop" style by rhyming syncopated to the beat of an existing record uninterruptedly for nearly a minute. He adapted the lyrics of Isaac Hayes' "Good Love 6-9969" and rhymed it to the breakdown part of "Love Is the Message".[68] His partner Kevin Smith, better known as Lovebug Starski, took this new style and introduced it to the Bronx hip hop set that until then was composed of DJing and b-boying (or beatboxing), with traditional "shout out" style rapping. e24fc04721
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