| Rap music worked its way to mainstream music | | | | Rap historians cite young Jamaican Clive Campbell as |
| around the late 70s to the early 80s. Those who study | | | | one of the proponents of rap music when he migrated |
| history would trace rap musics roots way back in | | | | to the Bronx and brought with him the art of Jamaican |
| American history when Griots or West African folk | | | | toasting. In the Brox, Campbell was known by his |
| poets used to deliver their stories in a rhythmic tone | | | | monicker, Kool Herc (short for Hercules). Other early |
| accompanied by drums and other sparse | | | | rappers rappers were Jamaican toasters such as U |
| instrumentation. Today, the art of rapping has evolved | | | | Roy, Duke Reid, Sir Coxsone, and Prince Buster. They |
| into something that spans cultural and lifestyle | | | | were followed by the next decade of rappers like |
| dimensions. | | | | MelleMel, Fatback Band, Sugarhill Gang, Grandmaster |
| Folk roots meet Jamaican-style | | | | Flash, and Run-D.M.C. |
| Rap music combines the poetry of the Griots with | | | | The early nineties saw the entry of white American |
| Jamaican-style toasting. Toasting is used by Jamaican | | | | rappers like Ice Cube to the |
| disc jockeys or DJs in dance parties to coax people to | | | | African-American-dominated world of rap music. Even |
| dance to their music. DJs are the first rappers or MCs | | | | women rappers surfaced in the mainstream rap music |
| (short for master of ceremonies). They would speak | | | | scene. Women rappers like Salt N Pepper, Monie |
| over their music to shout out slogans like Work it, work | | | | Love, and Queen Latifah rapped over R&B melodies |
| it and Move it to keep encourage continuous dancing | | | | and expressed lyrics that touched on women-related |
| on the dance floor. Soon, toasting became longer and | | | | issues. |
| became less about dancing and more about life and | | | | The look of rap |
| having fun. Contextually, these raps can be insult raps, | | | | From its origins in the gang dominion of Bronx and the |
| news raps, message raps, nonsense raps, and party | | | | dancehalls of downtown ghettos, rap music soon |
| raps. | | | | found its way into the mainstream music scene. Soon, |
| This early way of rapping was soon enhanced to | | | | not only African-Americans were dancing to rap music. |
| include manual manipulation of the sound system to | | | | Rap music evolved into lyrical reflection of urban life. |
| heighten the dance experience. It has been said that | | | | Rastafari-clad youth wore oversized shirts and |
| people dance because of the beat and not of the | | | | jackets paired with low-riding oversized jeans that |
| lyrics. And so, DJs soon incorporated other techniques | | | | exposed their underwear. Heavy chain accessories |
| like dubbing and scratching to the rap music appeal. | | | | also became part of the rapper look. |
| Dubbing enhanced Jamaican toasting by cutting back | | | | Rap music, while considered by some to be a fad that |
| and forth between vocal and instrumental tracks and | | | | would eventually lose its appeal, is really a form of |
| isolating the beat for danceability. Scratching, on the | | | | musical art that has become a way of expression. |
| other hand, is done by moving the record in the | | | | Modern mouth percussion, vocal improvisation and |
| turntable from one direction to another and back again | | | | stripped down melody, these elements of rap music |
| while the needle is still in the groove. | | | | make it a unique musical experience. |
| Rappers deluxe | | | | |