Why does the south try to downplay their west coast influence

[The Intergalactic Koala]

I wouldn't say bite...but more so influenced heavily on the sense of both coasts. Rap A Lot albums had that west coast whine synth in their mid 90s albums, while the west had that heavy bass trap sound in the late 90s.

 

[smokeurobinson]

what came to be rapping started in the south and was spread by southerners to other parts of the USA

No it didn't.

The earliest form of poetry known to man is dated from the time of Sumer


And dj'ing was Jamaica.

 

[IllmaticDelta]

No it didn't.

yes it did

The earliest form of poetry known to man is dated from the time of Sumer

rapping isn't simply poetry...it's syncopated to a beat, poetry. This is why spoken word and rapping flow differently.

And dj'ing was Jamaica.

no it wasn't....dj'ing and the deejay is an American invention...






More on Jocko, one of the american dj's who was imitated in Jamaica




"
Douglas "Jocko" Henderson ranks with Daddy O' Daylie and Hot Rod Hulbert as one of the original rhythm and blues radio disc jockeys. His smooth, swinging, rhymed talkovers were imitated by the jocks of the early rock and roll era, and became one of the major sources for the rap style. Though his influence on hip-hop was crucial, it took an indirect route as the model for the toasts of early Jamaican sound system deejays. Some say that Jocko's syndicated radio shows, beamed into the Caribbean from Miami provided the standard for Jamaican deejays. Another story claims that sound system promoter and record producer Coxsone Dodd encountered Jocko on one his record buying trips to the U.S., and encouraged his dee-jays to imitate Jocko's style. However his influence reached Jamaica, titles like "The Great Wuga Wuga" by Sir Lord Comic and "Ace from Space" by U. Roy were catch phrases directly appropriated from Jocko's bag of verbal tricks. When Kool DJ Herc adapted the Jamaican sound system to New York City party crowds, the stylized public address patter that accompanied his bass heavy program was rooted in Jocko's rhyming jive patter.

Jocko started in radio in the Baltimore of 1950, moving to Philadelphia, where he attained enough momentum to arrange a daily commute to New York for a second shift. It was in New York that he hosted "Jocko's Rocket Ship", a black oriented television dance party show that was the forerunner of "Soul Train". He also made many appearances as an M.C. of rhythm and blues shows and hosted large scale record hops that anticipated ballroom disco shows."

http://www.allmusic.com/artist/jocko-mn0000113325/biography
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Modern hiphop djing/turntablism is straight from Disco djing











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Although Herc was known for letting records play before and beyond their breaks (sometimes, to the consternation of some observers, including the “wack” or undesirable parts, or all the way to the end of a track), perhaps his most lasting legacy is the practice of isolating and extending these breakbeats, transforming the fleeting, funky moments into loops that could last for many minutes. Eventually, by employing two turntables and two copies of a record, Herc developed what he called the “Merry-Go-Round” technique. Dropping the needle back to the beginning of the break on one record just as the other was about to end, and repeating the process ad infinitum, Herc could keep a break — and a crowd of b-boys — breaking for as long as that particular section would work. Though the hip-hop story has enshrined Herc as the first to isolate and repeat breakbeats in this way, it should be noted that Herc’s technical proficiency was never exactly heralded, and so his focus on and liberation of the break should perhaps be understood more as an aesthetic than a technical achievement. Later DJs, such as Grandmaster Flash, influenced by Herc’s model but more virtuosic in their control over the turntables and mixer, would improve on the formula, moving beyond drop-the-needle imprecision by backspinning, scratching, and cutting the records while cueing them via monitoring headphones, thus allowing one to mix breaks more seamlessly into one another and to isolate shorter and shorter sections for repetition.

As an element of style, Herc’s less-than-seamless, stop-and-start approach to selection draws yet another connection to reggae performance practice. Whereas hip-hop DJing — partly related to its roots in disco and the club scene — has since developed in a manner that privileges smooth, beat-matched transitions between tracks, reggae selecting has remained a style more defined by stark cuts and mixes. This is often the case even when a selector is “juggling,” or mixing sequentially, several songs on the same underlying riddim: when a popular song receives requests for a “pull up,” the selector rewinds it, usually suddenly and audibly, and lets it play again. Reggae-style selecting arises partly out of the constraints of using a single turntable

 

[IllmaticDelta]

 

[Pit Bull]

If you wanna talk about denial of influence there's no better case to be made then these Chicago nikkas acting like "drill" isn't just some off brand form of trap music

Mid west and mid south share a style that goes back to the early 90s which is tongue twisting flows over dark 808s and sped up high hats. So as far as Drill production goes it's they style too. I see what you saying though it's still influenced by Trap