Editing Rapping (section)

===Proto-rap===
In his narration between the tracks on [[George Russell (composer)|George Russell]]'s 1958 jazz album [[New York, N.Y. (album)|''New York, N.Y.'']], the singer [[Jon Hendricks]] recorded something close to modern rap, since it all rhymed and was delivered in a hip, rhythm-conscious manner. Art forms such as spoken word jazz poetry and comedy records had an influence on the first rappers.<ref name="thafoundation.com" /> [[Coke La Rock]], often credited as hip-hop's first MC<ref>Jenkins, Sacha (December 3, 1999). ''Ego Trip's Book of Rap Lists''. St. Martin's Griffin, p. 20. {{ISBN|978-0-312-24298-5}}.</ref> cites the [[Last Poets]] among his influences, as well as comedians such as [[Wild Man Steve]] and [[Richard Pryor]].<ref name="thafoundation.com" /> Comedian [[Rudy Ray Moore]] released under the counter albums in the 1960s and 1970s such as ''This Pussy Belongs to Me'' (1970), which contained "raunchy, sexually explicit rhymes that often had to do with pimps, prostitutes, players, and hustlers",<ref>{{cite web |author=Alex Henderson |url=http://www.allmusic.com/album/this-pussy-belongs-to-me-mw0000094218 |title=This Pussy Belongs to Me – Rudy Ray Moore &#124; Songs, Reviews, Credits, Awards |website=AllMusic |access-date=August 25, 2014 |archive-date=November 7, 2021 |archive-url=https://web.archive.org/web/20211107221918/https://www.allmusic.com/album/this-pussy-belongs-to-me-mw0000094218 |url-status=live }}</ref> and which later led to him being called "The Godfather of Rap".<ref name=chicago>{{cite news |author=Soren Baker |url=https://www.chicagotribune.com/2002/05/10/dolemite-star-explores-music/ |title='Dolemite' star explores music |newspaper=Chicago Tribune |date=May 10, 2002 |access-date=August 25, 2014 |archive-date=August 15, 2014 |archive-url=https://web.archive.org/web/20140815142244/http://articles.chicagotribune.com/2002-05-10/entertainment/0205100386_1_rudy-ray-moore-rhyming-redd-foxx |url-status=live }}</ref>

[[Gil Scott-Heron]], a jazz poet/musician, has been cited as an influence on rappers such as [[Chuck D]] and [[KRS-One]].<ref>Jeff Chang; D.J. Kool Herc (December 2005). ''Can't Stop Won't Stop: A History of the Hip-Hop Generation''. Picador. p. 249. {{ISBN|0-312-42579-1}}.</ref> Scott-Heron himself was influenced by [[Melvin Van Peebles]],<ref>{{cite news |url=http://www.philadelphiaweekly.com/news-and-opinion/cover-story/Forever_Badass-243548941.html |title=Forever badass: Melvin Van Peebles on his Philly funk gig and Sweetback memories &#124; Cover Story &#124; News and Opinion |newspaper=Philadelphia Weekly |access-date=February 21, 2014 |url-status=dead |archive-url=https://archive.today/20140221084523/http://www.philadelphiaweekly.com/news-and-opinion/cover-story/Forever_Badass-243548941.html |archive-date=February 21, 2014  }}</ref><ref>{{cite web |url=http://www.visionaryproject.org/vanpeeblesmelvin/ |title=Melvin Van Peebles: Oral History Video Clips and Biography: NVLP Oral History Archive |publisher=Visionaryproject.org |date=August 21, 1932 |access-date=February 21, 2014 |archive-date=November 6, 2021 |archive-url=https://web.archive.org/web/20211106153518/http://www.visionaryproject.org/vanpeeblesmelvin/ |url-status=dead }}</ref> 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]].<ref name=VanPeebles>{{cite AV media notes |chapter=The title of this album |title=What the. ... You Mean I Can't Sing?! |others=Melvin Van Peebles |year=2003 |first=Melvin |last=Van Peebles |publisher=Water |id=water122 |type=booklet }}</ref> 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."<ref name=George>{{cite AV media notes |title=Ghetto Gothic |others=Melvin Van Peebles |year=1995 |first=Nelson |last=George |publisher=Capitol |id=724382961420 |type=booklet}}</ref>

During the mid-20th century, the musical culture of the Caribbean was constantly influenced by the concurrent changes in [[Music of the United States|American music]]. As early as 1956,<ref name=":1" /> [[Disc jockey#Dancehall/reggae deejays|deejays]] were [[Toasting (Jamaican music)|toasting]] over [[dub music|dubbed]] [[Jamaica]]n beats. It was called "rap", expanding the word's earlier meaning in the African-American community—"to discuss or debate informally."<ref name="r0" />

The early rapping of hip-hop developed out of [[DJ]] and [[master of ceremonies]]' announcements made over the microphone at parties, and later into more complex raps.<ref name="Charlie Ahearn 2002" /> [[Grandmaster Caz]] stated: "The microphone was just used for making announcements, like when the next party was gonna be, or people's moms would come to the party looking for them, and you have to announce it on the mic. Different DJs started embellishing what they were saying. I would make an announcement this way, and somebody would hear that and they add a little bit to it. I'd hear it again and take it a little step further 'til it turned from lines to sentences to paragraphs to verses to rhymes."<ref name="Charlie Ahearn 2002" />

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 [[Disc jockey|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 (Jamaican music)|toasting]].<ref name="daveyd1">{{cite web| url = http://www.daveyd.com/interviewkoolherc89.html| title = Davey D's Hip-Hop Corner| access-date = December 20, 2005| archive-date = March 3, 2016| archive-url = https://web.archive.org/web/20160303174730/http://www.daveyd.com/interviewkoolherc89.html| url-status = live}}</ref> 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 ''[[Hustlers Convention (Lightnin' Rod album)|Hustler's Convention]]''".<ref>"Hip Hop: The Illustrated History of Break Dancing, Rap Music, and Graffiti", by Steven Hager, 1984, St Martin's Press, p. 45.</ref> 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,"<ref>{{cite web |url=http://www.djhistory.com/interviews/kool-herc |title=Kool Herc |publisher=DJhistory.com |access-date=January 27, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20150601195425/http://www.djhistory.com/interviews/kool-herc |archive-date=June 1, 2015  }}</ref> 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."<ref name="daveyd1"/>

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<ref>[http://www.thafoundation.com/pete.htm Pete "DJ" Jones Interview pt. 1] {{Webarchive|url=https://web.archive.org/web/20211106153518/http://www.thafoundation.com/pete.htm |date=November 6, 2021 }}, The Foundation.</ref> who was the house DJ at the [[Apollo Theater]]. Kurtis Blow also said the first person he heard rhyme was DJ Hollywood.<ref>{{cite web|url=http://www.wolfdorkapparel.com/props-hip-hop/.|title=An Ode to Hip-Hop: The 1970s|author=ScottK|access-date=June 30, 2015|url-status=dead|archive-url=https://web.archive.org/web/20150626130229/http://www.wolfdorkapparel.com/props-hip-hop/|archive-date=June 26, 2015}}</ref> 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".<ref>Mark Skillz, [https://medium.com/cuepoint/dj-hollywood-the-original-king-of-new-york-41b131b966ee "DJ Hollywood: The Original King of New York"] {{Webarchive|url=https://web.archive.org/web/20211106153517/https://medium.com/cuepoint/dj-hollywood-the-original-king-of-new-york-41b131b966ee |date=November 6, 2021 }}, Cuepoint, November 19, 2014.</ref> 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.

The style that Hollywood created and his partner introduced to the hip hop set quickly became the standard. Before that time, most MC rhymes, based on radio DJs, consisted of short patters that were disconnected thematically; they were separate unto themselves. But by using song lyrics, Hollywood gave his rhyme an inherent flow and theme. This was quickly noticed, and the style spread. By the end of the 1970s, artists such as [[Kurtis Blow]] and [[the Sugarhill Gang]] were starting to receive radio airplay and make an impact far outside of New York City, on a national scale. [[Blondie (band)|Blondie]]'s 1981 single, "[[Rapture (Blondie song)|Rapture]]", was one of the first songs featuring rap to top the U.S. [[Billboard Hot 100|''Billboard'' Hot 100]] chart.