gospel musical group The Jubalaire's songs The Preacher and the Bear 1941 and Noah 1946 are precursors to the genre of rap music. The Jubalaires singing grouped formed in 1936 and their rhyming during their singing sounds similar to rapping. The Jubalaires and other African-American singing groups during the blues, jazz, and gospel era are examples of the origins and development of rap music. Grammy-winning blues musician/historian Elijah Wald and others have 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 recorded example of rapping in blues was the 1950 song "Gotta Let You Go" by Joe Hill Louis. Jazz, which developed from the blues and other African-American and European musical traditions and originated around the beginning of the 20th century, has also influenced hip hop and has been cited as a precursor of hip hop. Not just jazz music and lyrics but also jazz poetry. According to John Sobol, the jazz musician and poet who wrote Digitopia Blues, rap "bears a striking resemblance to the evolution of jazz both stylistically and formally". Boxer Muhammad Ali anticipated elements of rap, often using rhyme schemes and spoken word poetry, both for when he was trash talking in boxing and as political poetry for his activism outside of boxing, paving the way for The Last Poets in 1968, Gil Scott-Heron in 1970, and the emergence of rap music in the 1970s. An editor of the newspaper, The Fayetteville Observer interviewed Bill Curtis of the disco-funk music group the Fatback Band in 2020. Bill Curtis said when he moved to Bronx, New York in the 1970s he heard people rapping over scratched records throughout Bronx neighborhoods and disc jockeys on radios were rapping before the genre was released to the public on sales records. Fatback band released the first rap music King Tim III (Personality Jock) a few weeks before the Sugarhill Gang in 1979. "Preceding Sugarhill Gang’s Rapper’s Delight by a mere few weeks, King Tim III was essentially a disco/funk tune with vocal cadences that resembled sonic aesthetics and deliveries heard in later rap songs. It was actually a B-side to Fatback’s You’re My Candy Sweet." In another interview with Bill Curtis, Curtis said: “There was rapping in the Bronx and the cats there had been doing it for a while,” he says. “Fatback