1 00:00:04,160 --> 00:00:06,640 Speaker 1: Hey, and welcome to the short stuff. I'm Josh, there's Chuck, 2 00:00:06,720 --> 00:00:12,920 Speaker 1: there's Jerry. Let's get it started. Wow, is that the 3 00:00:12,920 --> 00:00:16,079 Speaker 1: best you got? That was? Yeah? I thought pret good? 4 00:00:16,120 --> 00:00:20,200 Speaker 1: Was it not? It was great? So this coincides with 5 00:00:20,239 --> 00:00:24,400 Speaker 1: our Vinyl records UH full length episode, and we just 6 00:00:24,440 --> 00:00:27,320 Speaker 1: want to be clear record Scratching could be a full 7 00:00:27,360 --> 00:00:31,760 Speaker 1: length episode easily turns out. Um, we're going to concentrate 8 00:00:31,760 --> 00:00:34,520 Speaker 1: mainly on sort of the early history because we've also 9 00:00:34,640 --> 00:00:39,000 Speaker 1: learned that trying to describe musical things and audio things 10 00:00:39,080 --> 00:00:41,879 Speaker 1: is a little awkward, a little. I think it might 11 00:00:41,920 --> 00:00:44,639 Speaker 1: be the most difficult thing we've ever tried to describe 12 00:00:44,680 --> 00:00:47,559 Speaker 1: for real, you know what kind of sounds like this? Um, 13 00:00:47,600 --> 00:00:49,559 Speaker 1: So we're it's going to be light on that. But 14 00:00:50,080 --> 00:00:54,720 Speaker 1: let's talk about record scratching, which although and apparently in 15 00:00:54,760 --> 00:00:59,400 Speaker 1: the nineties and fifties people were creating music from turntables 16 00:00:59,840 --> 00:01:03,120 Speaker 1: to posing and sampling. But if you really want to 17 00:01:03,120 --> 00:01:06,320 Speaker 1: talk about uh turntable is um a term coined in 18 00:01:06,360 --> 00:01:08,840 Speaker 1: the nineties, You really got to start in the nineteen 19 00:01:08,920 --> 00:01:12,119 Speaker 1: seventies in New York City. Yeah, there was a guy 20 00:01:12,600 --> 00:01:15,720 Speaker 1: in n seventy five. His name is Theodore Livingstone. He 21 00:01:15,760 --> 00:01:18,160 Speaker 1: was a teenager in the Bronx and he went by 22 00:01:18,520 --> 00:01:24,600 Speaker 1: DJ grand Wizard Theodore unfortunate name but in nineteen In 23 00:01:25,800 --> 00:01:30,160 Speaker 1: in nineteen seventy five, Theodore was um playing records apparently 24 00:01:30,200 --> 00:01:33,039 Speaker 1: too loud on his home stereo, and his mom came 25 00:01:33,040 --> 00:01:35,480 Speaker 1: in and said, you better turn that down. I guess 26 00:01:35,520 --> 00:01:37,840 Speaker 1: his mom bust in and said, what's that noise? Right? 27 00:01:38,280 --> 00:01:40,760 Speaker 1: And when he went to go turn the volume down, 28 00:01:40,840 --> 00:01:44,520 Speaker 1: I guess, rather quickly accidentally scratched the record. And instead 29 00:01:44,560 --> 00:01:47,160 Speaker 1: of being like, man, I screwed up my record, Theodore 30 00:01:47,240 --> 00:01:49,360 Speaker 1: had the presence of mind to be like, that sounded 31 00:01:49,400 --> 00:01:52,960 Speaker 1: pretty cool. Let me see if I can do that again. Yeah, 32 00:01:52,960 --> 00:01:57,560 Speaker 1: I can, like totally see the movie version. Apparently she 33 00:01:57,640 --> 00:01:59,559 Speaker 1: was downstairs yelling at him and he went to stop 34 00:01:59,600 --> 00:02:02,120 Speaker 1: it so she to hear what she was saying, and 35 00:02:02,160 --> 00:02:05,440 Speaker 1: then he goes over and it goes and all of 36 00:02:05,520 --> 00:02:08,160 Speaker 1: a sudden, like the lights in the room get brighter. 37 00:02:09,560 --> 00:02:12,920 Speaker 1: He's just discovered a new musical genre. Close in on 38 00:02:13,040 --> 00:02:18,760 Speaker 1: Brian May, looking totally astounded and amazed in awe, oh goodness, 39 00:02:18,840 --> 00:02:21,880 Speaker 1: I still like that movie. Um, it was very corny, though, 40 00:02:21,960 --> 00:02:26,560 Speaker 1: you're correct, So he technically invented the scratch and started 41 00:02:26,600 --> 00:02:29,040 Speaker 1: doing it at parties and house parties and clubs and stuff. 42 00:02:29,800 --> 00:02:32,919 Speaker 1: But if you were to ask hip hop enthusiasts sort 43 00:02:32,960 --> 00:02:36,880 Speaker 1: of who the forefathers of turntable is um are, they 44 00:02:36,880 --> 00:02:40,080 Speaker 1: would point to three people for sure, maybe more Uh 45 00:02:40,200 --> 00:02:44,679 Speaker 1: Cool HERK, Grandmaster Flash and Africa Bombada, all of which 46 00:02:44,680 --> 00:02:47,400 Speaker 1: we talked about in our hip hop episode. Yeah. So 47 00:02:47,639 --> 00:02:51,720 Speaker 1: from what I can discern, Chuck, there's basically two categories 48 00:02:52,240 --> 00:02:55,960 Speaker 1: of turntable is m One is scratching that was invented 49 00:02:56,000 --> 00:02:59,720 Speaker 1: by Grand Wizard Theodore, and then the others called cutting, 50 00:03:00,360 --> 00:03:03,680 Speaker 1: and that was most people say invented by DJ Cool 51 00:03:03,760 --> 00:03:06,320 Speaker 1: Hirk again, I think in the seventies, the very very 52 00:03:06,400 --> 00:03:09,520 Speaker 1: late seventies. And scratching is exactly what you think it is. 53 00:03:09,560 --> 00:03:12,720 Speaker 1: It's moving the record back and forth back and forth 54 00:03:13,200 --> 00:03:18,440 Speaker 1: against the needle, making it scratch um and uh cutting 55 00:03:18,600 --> 00:03:21,120 Speaker 1: is where you have two you have to have two 56 00:03:21,160 --> 00:03:24,679 Speaker 1: records and you're using the cross fader that turns one 57 00:03:24,720 --> 00:03:26,760 Speaker 1: on and the other offer turns that one on and 58 00:03:26,800 --> 00:03:29,320 Speaker 1: the other off, depending on which way you slide it. 59 00:03:29,800 --> 00:03:33,760 Speaker 1: That is cutting, and everything else is either a subcategory 60 00:03:34,080 --> 00:03:36,680 Speaker 1: or a combination of those two and when you put 61 00:03:36,720 --> 00:03:39,920 Speaker 1: it all together, that's where you get turntablism, which is 62 00:03:40,080 --> 00:03:47,200 Speaker 1: this incredibly sophisticated, incredibly talented combination of scratching and cutting. Now, 63 00:03:47,480 --> 00:03:51,000 Speaker 1: doesn't cutting me in the same record though? No, Cutting 64 00:03:51,080 --> 00:03:54,480 Speaker 1: is you're cutting back and forth between two records, but 65 00:03:54,600 --> 00:03:58,960 Speaker 1: not the same Sorry, so to two identical records, like 66 00:03:59,000 --> 00:04:01,960 Speaker 1: two of the same record, one on each turntable? You mean, yes, 67 00:04:02,160 --> 00:04:06,120 Speaker 1: not necessarily? Cutting is the larger category of that. I 68 00:04:06,160 --> 00:04:09,720 Speaker 1: think that is breakbeat um usually when it's to two 69 00:04:09,760 --> 00:04:14,000 Speaker 1: different ones. Yeah, breakbeat, which seems to have evolved into 70 00:04:14,120 --> 00:04:17,400 Speaker 1: the juggling beat. Juggling seems like just a sort of 71 00:04:17,440 --> 00:04:21,600 Speaker 1: more complex version of breakbeat, right, Yeah, and breakbeat is 72 00:04:21,600 --> 00:04:23,880 Speaker 1: a type of cutting from what I understand. All right, 73 00:04:23,920 --> 00:04:26,839 Speaker 1: so cool Herror apparently came up with a breakbeat break 74 00:04:26,920 --> 00:04:30,520 Speaker 1: beat technique. That's hard to say. I would be a 75 00:04:30,680 --> 00:04:34,240 Speaker 1: terrible hip hop artist because I can't even say breakbeat technique? 76 00:04:34,320 --> 00:04:37,560 Speaker 1: How is your breakbeat technique? But that's when you have 77 00:04:37,600 --> 00:04:39,520 Speaker 1: the two copies of the same record put on two 78 00:04:39,560 --> 00:04:43,200 Speaker 1: different decks, and basically you mix between them to extend 79 00:04:44,000 --> 00:04:48,760 Speaker 1: um whatever indefinitely, like the climax usually or the break. 80 00:04:48,839 --> 00:04:51,599 Speaker 1: You can just extend that forever because you're going back 81 00:04:51,600 --> 00:04:54,119 Speaker 1: and forth. And like, I know how all this stuff works. 82 00:04:54,160 --> 00:04:58,480 Speaker 1: But I watched a lot of videos on YouTube. There's 83 00:04:58,520 --> 00:05:04,280 Speaker 1: one called scratch School. We're scratch scratch Bastard. Uh, kind 84 00:05:04,279 --> 00:05:05,760 Speaker 1: of shows you how to do the stuff and when 85 00:05:05,800 --> 00:05:07,440 Speaker 1: you if you don't know a lot about it, but 86 00:05:07,480 --> 00:05:09,479 Speaker 1: you've long admired the sound of it and you look 87 00:05:09,520 --> 00:05:12,240 Speaker 1: at it, Um, it's really kind of cool to see 88 00:05:12,279 --> 00:05:16,040 Speaker 1: how it works. It's really a lot, way more complicated 89 00:05:16,040 --> 00:05:18,600 Speaker 1: than I thought. Um. I didn't know that they actually 90 00:05:18,600 --> 00:05:22,320 Speaker 1: physically marked the record and like a clock position to 91 00:05:22,400 --> 00:05:26,000 Speaker 1: know where the beats were. Um. I always wondered how 92 00:05:26,040 --> 00:05:29,560 Speaker 1: they got the needle back to the point in the 93 00:05:29,640 --> 00:05:32,960 Speaker 1: song whether they needed that beat, And they just move it. 94 00:05:34,080 --> 00:05:37,080 Speaker 1: So they're they're scratching the records, they're moving the fader. 95 00:05:37,360 --> 00:05:39,359 Speaker 1: They're literally moving the needle to get it in the 96 00:05:39,440 --> 00:05:43,039 Speaker 1: right position, back and forth, and there's a lot more 97 00:05:43,120 --> 00:05:45,000 Speaker 1: going on than I thought. I knew it wasn't easy, 98 00:05:45,040 --> 00:05:47,480 Speaker 1: but I was just kind of blown away. Yeah, because 99 00:05:47,520 --> 00:05:50,360 Speaker 1: here's the thing. If you play a part of a record, 100 00:05:50,440 --> 00:05:52,680 Speaker 1: let's say like a drum roll, and you want to 101 00:05:52,680 --> 00:05:55,880 Speaker 1: play that again. If you spin the record backward, which 102 00:05:55,920 --> 00:05:59,120 Speaker 1: I believe is walking it right um or pausing it, 103 00:05:59,160 --> 00:06:01,640 Speaker 1: I can't remember what one it is. Backward would be 104 00:06:01,640 --> 00:06:05,520 Speaker 1: moonwalking right, Okay, So if you moonwalk the record, um, 105 00:06:05,560 --> 00:06:07,800 Speaker 1: it's going to make its own sound. But if all 106 00:06:07,880 --> 00:06:10,920 Speaker 1: you want is that beat over and over again, what 107 00:06:11,000 --> 00:06:15,360 Speaker 1: you're doing is through creating breakbeats, is just going from 108 00:06:15,400 --> 00:06:18,120 Speaker 1: that drum roll on the one record, And when that's done, 109 00:06:18,279 --> 00:06:20,760 Speaker 1: you've moved a cross fader to turn the other record 110 00:06:20,800 --> 00:06:23,240 Speaker 1: on so that the drum roll starts then. And then 111 00:06:23,480 --> 00:06:26,000 Speaker 1: while you're playing that, you pull the other record that 112 00:06:26,040 --> 00:06:28,480 Speaker 1: you just played back to the spot again. And by 113 00:06:28,520 --> 00:06:30,839 Speaker 1: doing that you can keep that drum roll going, just 114 00:06:30,960 --> 00:06:36,280 Speaker 1: moving back and forth seamlessly, add infinitem. Basically, you could 115 00:06:36,279 --> 00:06:39,479 Speaker 1: just keep it going forever, keep it going forever. So 116 00:06:40,279 --> 00:06:41,960 Speaker 1: that's what we would do if we didn't have to 117 00:06:41,960 --> 00:06:43,440 Speaker 1: take an ad break. But we're going to do that. 118 00:06:43,640 --> 00:06:45,960 Speaker 1: We'll be back to finish up right after this. That's 119 00:06:46,040 --> 00:07:09,279 Speaker 1: why skodol my dumb nat sk I just want a 120 00:07:09,320 --> 00:07:11,440 Speaker 1: second chuck before we start again. I'm with you that 121 00:07:11,520 --> 00:07:14,480 Speaker 1: scratch school with scratch bastard was so easy to watch. 122 00:07:14,520 --> 00:07:17,800 Speaker 1: The guy's like a total natural at explaining things, and 123 00:07:17,880 --> 00:07:21,960 Speaker 1: he's also astoundingly talented too, Yeah, and talented and with 124 00:07:22,200 --> 00:07:24,760 Speaker 1: like he was having fun and he was messing up 125 00:07:24,760 --> 00:07:26,880 Speaker 1: and hit his whole point, and all the videos I 126 00:07:26,920 --> 00:07:29,240 Speaker 1: watched was like, this is what it's about. Like I 127 00:07:29,240 --> 00:07:31,440 Speaker 1: screwed up there, I lost the beat. You gotta play 128 00:07:31,480 --> 00:07:33,560 Speaker 1: around with it, you gotta get funky and just sort 129 00:07:33,600 --> 00:07:37,000 Speaker 1: of like roll with mistakes and trying mistakes into happy 130 00:07:37,040 --> 00:07:40,400 Speaker 1: accidents and for a change, sort of look through some 131 00:07:40,400 --> 00:07:43,280 Speaker 1: of the YouTube comments and it was really supportive and cool, 132 00:07:43,280 --> 00:07:46,080 Speaker 1: like people are like, man, I'm trying to learn, and 133 00:07:46,120 --> 00:07:49,160 Speaker 1: you are. You make this so much more accessible. And 134 00:07:49,240 --> 00:07:51,280 Speaker 1: seeing someone kind of screw up and then get it 135 00:07:51,320 --> 00:07:54,120 Speaker 1: back is like and not edit that part out. It's 136 00:07:54,120 --> 00:07:58,720 Speaker 1: like really valuable. So without being start again wait or 137 00:07:58,800 --> 00:08:00,440 Speaker 1: else being like wait, wait, hold on, got it, hold 138 00:08:00,440 --> 00:08:02,760 Speaker 1: on wait wait a second. Yeah, it was pretty fun. 139 00:08:02,800 --> 00:08:04,520 Speaker 1: And I also want to recommend there were some more 140 00:08:04,560 --> 00:08:08,320 Speaker 1: fun videos from DJ Babu b a bu um that 141 00:08:08,360 --> 00:08:12,320 Speaker 1: we're pretty awesome as well at explaining things. Um, maybe 142 00:08:12,400 --> 00:08:14,960 Speaker 1: let's talk about a couple of more quick little moves 143 00:08:14,960 --> 00:08:17,880 Speaker 1: and then we'll go back and finish up with some history. Yeah. 144 00:08:17,880 --> 00:08:20,680 Speaker 1: I think that's a great idea, dude, So I would 145 00:08:20,800 --> 00:08:23,720 Speaker 1: highly recommend you go and watch these videos if you're 146 00:08:23,760 --> 00:08:27,440 Speaker 1: interested in knowing what something like a transformer scratches so 147 00:08:27,520 --> 00:08:30,720 Speaker 1: perfectly named though. I know it's named because it sounds 148 00:08:30,760 --> 00:08:34,920 Speaker 1: sort of like a transformer transforming um, cash money. Jazzy Jeff, 149 00:08:35,720 --> 00:08:38,760 Speaker 1: lots of DJ sort of helped pioneer this technique. And 150 00:08:39,360 --> 00:08:42,120 Speaker 1: once you see it and hear it, you're like, oh, 151 00:08:42,280 --> 00:08:44,000 Speaker 1: I just you know, if you don't know much about it, 152 00:08:44,000 --> 00:08:45,960 Speaker 1: you're like, I didn't know what was called the transformer scratch, 153 00:08:45,960 --> 00:08:48,439 Speaker 1: but I've heard it a million times. Yeah. And and 154 00:08:48,559 --> 00:08:51,120 Speaker 1: by the way, yes, that Jazzy Jeff d J Jazzy 155 00:08:51,200 --> 00:08:54,400 Speaker 1: Jeff isn't he's the DJ. I'm the rapper DJ Jazzy 156 00:08:54,520 --> 00:08:58,120 Speaker 1: Jeff who apparently invented that. Um. And then there's another 157 00:08:58,160 --> 00:09:01,319 Speaker 1: one that's called the scrap, the crab that scratch bastard does. 158 00:09:01,559 --> 00:09:03,800 Speaker 1: And the reason it's called that is because you're flicking 159 00:09:03,840 --> 00:09:07,080 Speaker 1: the cross fader back and forth using your thumb and 160 00:09:07,120 --> 00:09:10,600 Speaker 1: then one finger thumb in the next finger thumb your 161 00:09:10,600 --> 00:09:12,959 Speaker 1: other finger, and then sometimes your thumb and your fourth 162 00:09:13,000 --> 00:09:16,400 Speaker 1: finger and as you do it really fast, um, one 163 00:09:16,440 --> 00:09:19,319 Speaker 1: finger after another, it kind of, you know, is reminiscent 164 00:09:19,360 --> 00:09:23,720 Speaker 1: of a crab's legs walking. Yeah, it's again, it's really cool. 165 00:09:23,760 --> 00:09:26,360 Speaker 1: It's like you use your thumb as to kind of 166 00:09:26,360 --> 00:09:29,640 Speaker 1: put pressure against the fader and basically what you're doing 167 00:09:29,720 --> 00:09:31,840 Speaker 1: is you're turning the fader on and off really quickly. 168 00:09:32,480 --> 00:09:34,520 Speaker 1: But you know that thing if you're if you're bored, 169 00:09:34,640 --> 00:09:36,720 Speaker 1: you do like I'm gonna do with my fingers on 170 00:09:36,720 --> 00:09:40,600 Speaker 1: like a piece of wood. But that, yes, well did 171 00:09:40,600 --> 00:09:43,040 Speaker 1: that come through it? All that? That's what you're doing 172 00:09:43,080 --> 00:09:45,880 Speaker 1: with the fader. So whenever you hear a scratch, go 173 00:09:46,040 --> 00:09:49,480 Speaker 1: like arrow, that's what they're doing. And it's just it's 174 00:09:49,520 --> 00:09:52,560 Speaker 1: a technique called the crab. It's so cool. The thing is, though, 175 00:09:52,600 --> 00:09:55,240 Speaker 1: is when you watch dj Is doing these things and 176 00:09:55,280 --> 00:09:59,800 Speaker 1: explaining it, it becomes so much more I guess, admirable 177 00:10:00,080 --> 00:10:05,440 Speaker 1: because the the different coordination of your hands doing two 178 00:10:05,480 --> 00:10:09,839 Speaker 1: different things at different times perfectly syncd up is so 179 00:10:10,480 --> 00:10:13,600 Speaker 1: hard for someone like me that just to see somebody 180 00:10:13,640 --> 00:10:15,720 Speaker 1: who can just do it like it's nothing is really 181 00:10:16,040 --> 00:10:19,240 Speaker 1: it's really My hat is off to those people. Yeah, 182 00:10:19,360 --> 00:10:24,240 Speaker 1: it's super impressive. Um, jumping back to history, Uh, things 183 00:10:24,280 --> 00:10:27,800 Speaker 1: are happening in the Bronx obviously in the late seventies. Again, 184 00:10:27,800 --> 00:10:29,480 Speaker 1: if you listen to our hip Hop episode, we talk 185 00:10:29,520 --> 00:10:32,200 Speaker 1: all about it. And then the big, big breakout as 186 00:10:32,240 --> 00:10:36,520 Speaker 1: far as the mainstream America music loving public goes, was 187 00:10:36,920 --> 00:10:42,360 Speaker 1: in when Herbie Hancock's Rocket came out Landmark video, Landmark 188 00:10:42,400 --> 00:10:46,560 Speaker 1: performance at the twenty six Grammy Awards, which really pushes 189 00:10:46,559 --> 00:10:52,920 Speaker 1: it into the mainstream because that was the first scratch solo, uh, 190 00:10:52,960 --> 00:10:56,360 Speaker 1: and it was amazing. It was performed by another Bronx DJ. 191 00:10:57,320 --> 00:11:00,199 Speaker 1: Uh and it said in this one Arcole Grand matt Ster, 192 00:11:00,280 --> 00:11:03,600 Speaker 1: but it was Grand mixer d s T who then 193 00:11:03,679 --> 00:11:07,200 Speaker 1: changed it to d x T. Yeah, and I think 194 00:11:07,559 --> 00:11:10,160 Speaker 1: so this was like the first song that ever had 195 00:11:10,920 --> 00:11:14,280 Speaker 1: scratching is like not only like a rhythm, but there's 196 00:11:14,320 --> 00:11:17,680 Speaker 1: like scratching solos in the middle of the song. And 197 00:11:17,920 --> 00:11:20,520 Speaker 1: like at this point, like people just especially just the 198 00:11:20,559 --> 00:11:23,079 Speaker 1: general people, and I'm sure every single person at the 199 00:11:23,120 --> 00:11:27,880 Speaker 1: Grammys did not think of turntables as anything particularly interesting. 200 00:11:27,920 --> 00:11:30,679 Speaker 1: Like at that Up to that point, a DJ was 201 00:11:30,840 --> 00:11:32,880 Speaker 1: what a lot of DJs are still today. You've got 202 00:11:32,880 --> 00:11:34,719 Speaker 1: one record playing and you let it play most of 203 00:11:34,760 --> 00:11:36,680 Speaker 1: the way, and then you mix in another record, and 204 00:11:36,679 --> 00:11:38,520 Speaker 1: then you take the first record off and put another 205 00:11:38,559 --> 00:11:41,080 Speaker 1: one and mix that and which is it's really hard 206 00:11:41,080 --> 00:11:42,640 Speaker 1: to do. You have to have a really good ear. 207 00:11:42,920 --> 00:11:45,480 Speaker 1: That's not scratching, that's not cutting, that's not turn tables, 208 00:11:45,559 --> 00:11:48,760 Speaker 1: and that's DJing. And that's what people thought of turntables 209 00:11:48,800 --> 00:11:51,200 Speaker 1: as that was it, that's what they were for. But 210 00:11:51,440 --> 00:11:54,040 Speaker 1: with Rocket, it was like, Nope, this is a completely 211 00:11:54,040 --> 00:11:58,319 Speaker 1: different era now starting in Yeah. And I remember, man, 212 00:11:58,520 --> 00:12:02,160 Speaker 1: I remember being twelve and thirteen years old and seeing 213 00:12:02,240 --> 00:12:05,440 Speaker 1: Rocket the video for the first time, and this was 214 00:12:05,520 --> 00:12:09,440 Speaker 1: Herbie Hancock was a sort of star fading jazz musician 215 00:12:09,480 --> 00:12:13,120 Speaker 1: at this time. This really revived his career. But I 216 00:12:13,160 --> 00:12:16,280 Speaker 1: remember the video was so weird and so and looking 217 00:12:16,280 --> 00:12:19,280 Speaker 1: at it now it's very kind of disturbing and odd looking. 218 00:12:20,040 --> 00:12:23,000 Speaker 1: But I remember seeing it and just thinking, what in 219 00:12:23,040 --> 00:12:27,080 Speaker 1: the world am I seeing and hearing right now? Uh? 220 00:12:27,120 --> 00:12:29,160 Speaker 1: And it's and it's not like I immediately started. I 221 00:12:29,160 --> 00:12:31,760 Speaker 1: didn't get into hip hop until probably four or five 222 00:12:31,840 --> 00:12:35,320 Speaker 1: years after that, but uh, it blew my mind. I 223 00:12:35,400 --> 00:12:37,240 Speaker 1: was just I had never heard anything like it before. 224 00:12:37,240 --> 00:12:40,520 Speaker 1: It was super cool to be of that generation to 225 00:12:40,640 --> 00:12:43,120 Speaker 1: have seen like a new genre being born before your 226 00:12:43,200 --> 00:12:47,600 Speaker 1: very eyes. Yeah. Um, Apparently that one performance is credited 227 00:12:47,679 --> 00:12:52,120 Speaker 1: for basically getting a lot of kids into scratching and 228 00:12:52,160 --> 00:12:55,320 Speaker 1: then eventually turntable is um starting in the nineties, which 229 00:12:55,360 --> 00:12:57,600 Speaker 1: is pretty cool. And also it's a little side note. 230 00:12:57,840 --> 00:13:00,559 Speaker 1: That was the same Grammys where Michael jack And carried 231 00:13:00,559 --> 00:13:05,240 Speaker 1: Emmanuel Lewis around like a baby. You actually, if you 232 00:13:05,280 --> 00:13:07,559 Speaker 1: watch the performance of Rocket, I think at the end 233 00:13:07,600 --> 00:13:10,200 Speaker 1: after when everybody's clapping, they cut to them sitting together 234 00:13:10,200 --> 00:13:13,880 Speaker 1: in the front row. Oh goodness, it's a it was 235 00:13:13,920 --> 00:13:18,840 Speaker 1: a weird Grammys. Dude, you got anything else? Wait? Wait 236 00:13:18,920 --> 00:13:25,360 Speaker 1: wait wait wait wait wait wait wait waited. That means, 237 00:13:25,360 --> 00:13:31,600 Speaker 1: of course, everybody short stuff is out. Stuff you should 238 00:13:31,640 --> 00:13:34,079 Speaker 1: know is a production of I Heart Radio. For more 239 00:13:34,120 --> 00:13:36,920 Speaker 1: podcasts my heart Radio, visit the I Heart Radio app, 240 00:13:37,120 --> 00:13:40,040 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.