Rapping is the rhythmic spoken delivery of rhymes, wordplay. Rapping is a primary ingredient in hip hop music, but the phenomenon predates hip hop culture by centuries. Rapping can be delivered over a beat or without accompaniment. Stylistically, rap occupies a gray area among speech, prose, poetry, and song.
The recurring concept of Uncensored was that it was an event that, in storylines. Each match on the card was ostensibly unsanctioned, meaning they were not subject to the normal rules sanctioned wrestling matches.
The roots of hip hop are found in African American music. The griots of West Africa are a group of traveling singers and poets who are part of an oral tradition dating back hundreds of years. Their vocal style is similar to that of rappers. The African American traditions of signifyin, the dozens, talking blues and jazz poetry are all descended from the griots.
In addition, musical comedy acts such as Rudy Ray Moore and Blowfly, are considered by some to be the forefathers of rap.
Within New York City, griot like performances of poetry and music by artists such as The Last Poets, Gil Scott Heron had a significant impact on the post civil rights era culture of the 1960s and 1970s.
Hip hop arose during the 1970s when block parties became increasingly popular in New York City, especially in the Bronx. Block parties incorporated DJs who played popular genres of music, especially funk and soul music. DJs, realizing its positive reception, began isolating the percussion breaks of popular songs.
This technique was then common in Jamaican dub music and had spread to New York City via the substantial Jamaican immigrant community. A major proponent of the technique was the godfather of hip hop, the Jamaican born DJ Kool Herc.
Dub music had become popular in Jamaica due to the influence of American sailors and Rhythm & Blues. Large sound systems were set up to accommodate poor Jamaicans who could not afford to buy records and dub developed at the sound systems. DJ Kool Herc was one of the most popular DJs in the early 70.
Due to the fact that the New York audience did not particularly like dub or reggae, Herc quickly switched to using funk, soul and disco. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records.
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