WEBVTT - Short Stuff: Scratching

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<v Speaker 1>Hey, and welcome to the short stuff. I'm Josh, there's Chuck,

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<v Speaker 1>there's Jerry. Let's get it started. Wow, is that the

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<v Speaker 1>best you got? That was? Yeah? I thought pret good?

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<v Speaker 1>Was it not? It was great? So this coincides with

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<v Speaker 1>our Vinyl records UH full length episode, and we just

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<v Speaker 1>want to be clear record Scratching could be a full

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<v Speaker 1>length episode easily turns out. Um, we're going to concentrate

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<v Speaker 1>mainly on sort of the early history because we've also

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<v Speaker 1>learned that trying to describe musical things and audio things

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<v Speaker 1>is a little awkward, a little. I think it might

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<v Speaker 1>be the most difficult thing we've ever tried to describe

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<v Speaker 1>for real, you know what kind of sounds like this? Um,

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<v Speaker 1>So we're it's going to be light on that. But

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<v Speaker 1>let's talk about record scratching, which although and apparently in

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<v Speaker 1>the nineties and fifties people were creating music from turntables

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<v Speaker 1>to posing and sampling. But if you really want to

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<v Speaker 1>talk about uh turntable is um a term coined in

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<v Speaker 1>the nineties, You really got to start in the nineteen

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<v Speaker 1>seventies in New York City. Yeah, there was a guy

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<v Speaker 1>in n seventy five. His name is Theodore Livingstone. He

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<v Speaker 1>was a teenager in the Bronx and he went by

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<v Speaker 1>DJ grand Wizard Theodore unfortunate name but in nineteen In

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<v Speaker 1>in nineteen seventy five, Theodore was um playing records apparently

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<v Speaker 1>too loud on his home stereo, and his mom came

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<v Speaker 1>in and said, you better turn that down. I guess

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<v Speaker 1>his mom bust in and said, what's that noise? Right?

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<v Speaker 1>And when he went to go turn the volume down,

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<v Speaker 1>I guess, rather quickly accidentally scratched the record. And instead

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<v Speaker 1>of being like, man, I screwed up my record, Theodore

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<v Speaker 1>had the presence of mind to be like, that sounded

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<v Speaker 1>pretty cool. Let me see if I can do that again. Yeah,

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<v Speaker 1>I can, like totally see the movie version. Apparently she

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<v Speaker 1>was downstairs yelling at him and he went to stop

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<v Speaker 1>it so she to hear what she was saying, and

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<v Speaker 1>then he goes over and it goes and all of

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<v Speaker 1>a sudden, like the lights in the room get brighter.

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<v Speaker 1>He's just discovered a new musical genre. Close in on

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<v Speaker 1>Brian May, looking totally astounded and amazed in awe, oh goodness,

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<v Speaker 1>I still like that movie. Um, it was very corny, though,

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<v Speaker 1>you're correct, So he technically invented the scratch and started

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<v Speaker 1>doing it at parties and house parties and clubs and stuff.

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<v Speaker 1>But if you were to ask hip hop enthusiasts sort

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<v Speaker 1>of who the forefathers of turntable is um are, they

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<v Speaker 1>would point to three people for sure, maybe more Uh

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<v Speaker 1>Cool HERK, Grandmaster Flash and Africa Bombada, all of which

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<v Speaker 1>we talked about in our hip hop episode. Yeah. So

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<v Speaker 1>from what I can discern, Chuck, there's basically two categories

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<v Speaker 1>of turntable is m One is scratching that was invented

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<v Speaker 1>by Grand Wizard Theodore, and then the others called cutting,

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<v Speaker 1>and that was most people say invented by DJ Cool

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<v Speaker 1>Hirk again, I think in the seventies, the very very

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<v Speaker 1>late seventies. And scratching is exactly what you think it is.

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<v Speaker 1>It's moving the record back and forth back and forth

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<v Speaker 1>against the needle, making it scratch um and uh cutting

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<v Speaker 1>is where you have two you have to have two

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<v Speaker 1>records and you're using the cross fader that turns one

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<v Speaker 1>on and the other offer turns that one on and

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<v Speaker 1>the other off, depending on which way you slide it.

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<v Speaker 1>That is cutting, and everything else is either a subcategory

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<v Speaker 1>or a combination of those two and when you put

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<v Speaker 1>it all together, that's where you get turntablism, which is

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<v Speaker 1>this incredibly sophisticated, incredibly talented combination of scratching and cutting. Now,

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<v Speaker 1>doesn't cutting me in the same record though? No, Cutting

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<v Speaker 1>is you're cutting back and forth between two records, but

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<v Speaker 1>not the same Sorry, so to two identical records, like

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<v Speaker 1>two of the same record, one on each turntable? You mean, yes,

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<v Speaker 1>not necessarily? Cutting is the larger category of that. I

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<v Speaker 1>think that is breakbeat um usually when it's to two

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<v Speaker 1>different ones. Yeah, breakbeat, which seems to have evolved into

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<v Speaker 1>the juggling beat. Juggling seems like just a sort of

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<v Speaker 1>more complex version of breakbeat, right, Yeah, and breakbeat is

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<v Speaker 1>a type of cutting from what I understand. All right,

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<v Speaker 1>so cool Herror apparently came up with a breakbeat break

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<v Speaker 1>beat technique. That's hard to say. I would be a

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<v Speaker 1>terrible hip hop artist because I can't even say breakbeat technique?

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<v Speaker 1>How is your breakbeat technique? But that's when you have

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<v Speaker 1>the two copies of the same record put on two

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<v Speaker 1>different decks, and basically you mix between them to extend

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<v Speaker 1>um whatever indefinitely, like the climax usually or the break.

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<v Speaker 1>You can just extend that forever because you're going back

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<v Speaker 1>and forth. And like, I know how all this stuff works.

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<v Speaker 1>But I watched a lot of videos on YouTube. There's

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<v Speaker 1>one called scratch School. We're scratch scratch Bastard. Uh, kind

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<v Speaker 1>of shows you how to do the stuff and when

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<v Speaker 1>you if you don't know a lot about it, but

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<v Speaker 1>you've long admired the sound of it and you look

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<v Speaker 1>at it, Um, it's really kind of cool to see

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<v Speaker 1>how it works. It's really a lot, way more complicated

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<v Speaker 1>than I thought. Um. I didn't know that they actually

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<v Speaker 1>physically marked the record and like a clock position to

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<v Speaker 1>know where the beats were. Um. I always wondered how

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<v Speaker 1>they got the needle back to the point in the

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<v Speaker 1>song whether they needed that beat, And they just move it.

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<v Speaker 1>So they're they're scratching the records, they're moving the fader.

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<v Speaker 1>They're literally moving the needle to get it in the

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<v Speaker 1>right position, back and forth, and there's a lot more

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<v Speaker 1>going on than I thought. I knew it wasn't easy,

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<v Speaker 1>but I was just kind of blown away. Yeah, because

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<v Speaker 1>here's the thing. If you play a part of a record,

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<v Speaker 1>let's say like a drum roll, and you want to

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<v Speaker 1>play that again. If you spin the record backward, which

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<v Speaker 1>I believe is walking it right um or pausing it,

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<v Speaker 1>I can't remember what one it is. Backward would be

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<v Speaker 1>moonwalking right, Okay, So if you moonwalk the record, um,

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<v Speaker 1>it's going to make its own sound. But if all

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<v Speaker 1>you want is that beat over and over again, what

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<v Speaker 1>you're doing is through creating breakbeats, is just going from

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<v Speaker 1>that drum roll on the one record, And when that's done,

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<v Speaker 1>you've moved a cross fader to turn the other record

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<v Speaker 1>on so that the drum roll starts then. And then

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<v Speaker 1>while you're playing that, you pull the other record that

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<v Speaker 1>you just played back to the spot again. And by

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<v Speaker 1>doing that you can keep that drum roll going, just

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<v Speaker 1>moving back and forth seamlessly, add infinitem. Basically, you could

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<v Speaker 1>just keep it going forever, keep it going forever. So

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<v Speaker 1>that's what we would do if we didn't have to

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<v Speaker 1>take an ad break. But we're going to do that.

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<v Speaker 1>We'll be back to finish up right after this. That's

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<v Speaker 1>why skodol my dumb nat sk I just want a

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<v Speaker 1>second chuck before we start again. I'm with you that

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<v Speaker 1>scratch school with scratch bastard was so easy to watch.

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<v Speaker 1>The guy's like a total natural at explaining things, and

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<v Speaker 1>he's also astoundingly talented too, Yeah, and talented and with

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<v Speaker 1>like he was having fun and he was messing up

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<v Speaker 1>and hit his whole point, and all the videos I

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<v Speaker 1>watched was like, this is what it's about. Like I

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<v Speaker 1>screwed up there, I lost the beat. You gotta play

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<v Speaker 1>around with it, you gotta get funky and just sort

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<v Speaker 1>of like roll with mistakes and trying mistakes into happy

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<v Speaker 1>accidents and for a change, sort of look through some

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<v Speaker 1>of the YouTube comments and it was really supportive and cool,

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<v Speaker 1>like people are like, man, I'm trying to learn, and

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<v Speaker 1>you are. You make this so much more accessible. And

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<v Speaker 1>seeing someone kind of screw up and then get it

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<v Speaker 1>back is like and not edit that part out. It's

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<v Speaker 1>like really valuable. So without being start again wait or

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<v Speaker 1>else being like wait, wait, hold on, got it, hold

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<v Speaker 1>on wait wait a second. Yeah, it was pretty fun.

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<v Speaker 1>And I also want to recommend there were some more

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<v Speaker 1>fun videos from DJ Babu b a bu um that

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<v Speaker 1>we're pretty awesome as well at explaining things. Um, maybe

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<v Speaker 1>let's talk about a couple of more quick little moves

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<v Speaker 1>and then we'll go back and finish up with some history. Yeah.

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<v Speaker 1>I think that's a great idea, dude, So I would

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<v Speaker 1>highly recommend you go and watch these videos if you're

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<v Speaker 1>interested in knowing what something like a transformer scratches so

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<v Speaker 1>perfectly named though. I know it's named because it sounds

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<v Speaker 1>sort of like a transformer transforming um, cash money. Jazzy Jeff,

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<v Speaker 1>lots of DJ sort of helped pioneer this technique. And

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<v Speaker 1>once you see it and hear it, you're like, oh,

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<v Speaker 1>I just you know, if you don't know much about it,

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<v Speaker 1>you're like, I didn't know what was called the transformer scratch,

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<v Speaker 1>but I've heard it a million times. Yeah. And and

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<v Speaker 1>by the way, yes, that Jazzy Jeff d J Jazzy

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<v Speaker 1>Jeff isn't he's the DJ. I'm the rapper DJ Jazzy

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<v Speaker 1>Jeff who apparently invented that. Um. And then there's another

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<v Speaker 1>one that's called the scrap, the crab that scratch bastard does.

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<v Speaker 1>And the reason it's called that is because you're flicking

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<v Speaker 1>the cross fader back and forth using your thumb and

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<v Speaker 1>then one finger thumb in the next finger thumb your

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<v Speaker 1>other finger, and then sometimes your thumb and your fourth

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<v Speaker 1>finger and as you do it really fast, um, one

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<v Speaker 1>finger after another, it kind of, you know, is reminiscent

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<v Speaker 1>of a crab's legs walking. Yeah, it's again, it's really cool.

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<v Speaker 1>It's like you use your thumb as to kind of

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<v Speaker 1>put pressure against the fader and basically what you're doing

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<v Speaker 1>is you're turning the fader on and off really quickly.

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<v Speaker 1>But you know that thing if you're if you're bored,

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<v Speaker 1>you do like I'm gonna do with my fingers on

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<v Speaker 1>like a piece of wood. But that, yes, well did

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<v Speaker 1>that come through it? All that? That's what you're doing

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<v Speaker 1>with the fader. So whenever you hear a scratch, go

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<v Speaker 1>like arrow, that's what they're doing. And it's just it's

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<v Speaker 1>a technique called the crab. It's so cool. The thing is, though,

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<v Speaker 1>is when you watch dj Is doing these things and

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<v Speaker 1>explaining it, it becomes so much more I guess, admirable

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<v Speaker 1>because the the different coordination of your hands doing two

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<v Speaker 1>different things at different times perfectly syncd up is so

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<v Speaker 1>hard for someone like me that just to see somebody

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<v Speaker 1>who can just do it like it's nothing is really

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<v Speaker 1>it's really My hat is off to those people. Yeah,

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<v Speaker 1>it's super impressive. Um, jumping back to history, Uh, things

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<v Speaker 1>are happening in the Bronx obviously in the late seventies. Again,

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<v Speaker 1>if you listen to our hip Hop episode, we talk

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<v Speaker 1>all about it. And then the big, big breakout as

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<v Speaker 1>far as the mainstream America music loving public goes, was

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<v Speaker 1>in when Herbie Hancock's Rocket came out Landmark video, Landmark

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<v Speaker 1>performance at the twenty six Grammy Awards, which really pushes

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<v Speaker 1>it into the mainstream because that was the first scratch solo, uh,

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<v Speaker 1>and it was amazing. It was performed by another Bronx DJ.

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<v Speaker 1>Uh and it said in this one Arcole Grand matt Ster,

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<v Speaker 1>but it was Grand mixer d s T who then

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<v Speaker 1>changed it to d x T. Yeah, and I think

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<v Speaker 1>so this was like the first song that ever had

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<v Speaker 1>scratching is like not only like a rhythm, but there's

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<v Speaker 1>like scratching solos in the middle of the song. And

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<v Speaker 1>like at this point, like people just especially just the

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<v Speaker 1>general people, and I'm sure every single person at the

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<v Speaker 1>Grammys did not think of turntables as anything particularly interesting.

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<v Speaker 1>Like at that Up to that point, a DJ was

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<v Speaker 1>what a lot of DJs are still today. You've got

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<v Speaker 1>one record playing and you let it play most of

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<v Speaker 1>the way, and then you mix in another record, and

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<v Speaker 1>then you take the first record off and put another

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<v Speaker 1>one and mix that and which is it's really hard

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<v Speaker 1>to do. You have to have a really good ear.

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<v Speaker 1>That's not scratching, that's not cutting, that's not turn tables,

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<v Speaker 1>and that's DJing. And that's what people thought of turntables

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<v Speaker 1>as that was it, that's what they were for. But

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<v Speaker 1>with Rocket, it was like, Nope, this is a completely

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<v Speaker 1>different era now starting in Yeah. And I remember, man,

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<v Speaker 1>I remember being twelve and thirteen years old and seeing

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<v Speaker 1>Rocket the video for the first time, and this was

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<v Speaker 1>Herbie Hancock was a sort of star fading jazz musician

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<v Speaker 1>at this time. This really revived his career. But I

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<v Speaker 1>remember the video was so weird and so and looking

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<v Speaker 1>at it now it's very kind of disturbing and odd looking.

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<v Speaker 1>But I remember seeing it and just thinking, what in

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<v Speaker 1>the world am I seeing and hearing right now? Uh?

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<v Speaker 1>And it's and it's not like I immediately started. I

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<v Speaker 1>didn't get into hip hop until probably four or five

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<v Speaker 1>years after that, but uh, it blew my mind. I

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<v Speaker 1>was just I had never heard anything like it before.

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<v Speaker 1>It was super cool to be of that generation to

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<v Speaker 1>have seen like a new genre being born before your

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<v Speaker 1>very eyes. Yeah. Um, Apparently that one performance is credited

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<v Speaker 1>for basically getting a lot of kids into scratching and

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<v Speaker 1>then eventually turntable is um starting in the nineties, which

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<v Speaker 1>is pretty cool. And also it's a little side note.

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<v Speaker 1>That was the same Grammys where Michael jack And carried

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<v Speaker 1>Emmanuel Lewis around like a baby. You actually, if you

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<v Speaker 1>watch the performance of Rocket, I think at the end

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<v Speaker 1>after when everybody's clapping, they cut to them sitting together

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<v Speaker 1>in the front row. Oh goodness, it's a it was

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<v Speaker 1>a weird Grammys. Dude, you got anything else? Wait? Wait

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<v Speaker 1>wait wait wait wait wait wait wait waited. That means,

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<v Speaker 1>of course, everybody short stuff is out. Stuff you should

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<v Speaker 1>know is a production of I Heart Radio. For more

0:13:34.120 --> 0:13:36.920
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0:13:37.120 --> 0:13:40.040
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