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Del the Funky Homosapien likewise mentions that rap was utilized to describe talking in a stylistic way in the early 1970s: "I was born in '72 ... back then what rapping implied, essentially, was you trying to communicate somethingyou're attempting to persuade somebody. That's what rapping is, it remains in the way you talk." Roots The Memphis Jug Band, an early blues group, whose lyrical material and balanced singing preceded rapping.



Centuries prior to hip-hop music existed, the griots of West Africa were delivering stories rhythmically, over drums and sporadic instrumentation. Such connections have actually been acknowledged by lots of modern artists, contemporary "griots", spoken word artists, mainstream news sources, and academics. Rap lyrics and music become part of the "Black rhetorical continuum", continuing previous traditions of broadening upon them through "innovative use of language and rhetorical designs and strategies".


Grammy-winning blues musician/historian Elijah Wald and others have actually argued that the blues were being rapped as early as the 1920s. Wald went so far as to call hip hop "the living blues". A notable taped example of rapping in blues was the 1950 song "Got ta Let You Go" by Joe Hill Louis.


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Not simply jazz music and lyrics however also jazz poetry. According to John Sobol, allure artist and poet who composed Digitopia Blues, rap "bears a striking similarity to the development of jazz both stylistically and formally". Fighter Muhammad Ali anticipated elements of rap, frequently using rhyme plans and spoken word poetry, both for when he was garbage talking in boxing and as political poetry for his advocacy outside of boxing, leading the way for The Last Poets in 1968, Gil Scott-Heron in 1970, and the introduction of rap music in the 1970s.


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A similar custom is the patter tune exemplified by Gilbert and Sullivan however that has origins in earlier Italian opera. "Rock Island" from Meridith Wilson's is entirely spoken by an ensemble of taking a trip salesmen, as are most of the numbers for British star Rex Harrison in the 1964 Lerner and Loewe musical.






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