In the s scratching was one of the main features of the emerging turntablist artform and a staple of hip hop music. The s saw an increase in the invention of new, more sophisticated turntable techniques. DJs began to push the boundaries of what they could achieve and a range of new scratches were created. This technique of flicking the cross fader back and forth on the mixer whilst simultaneously scratching gave a greater tonal range and allowed DJs to experiment with the rhythmic qualities.
However, it is Beat Juggling which is perhaps the most important development of the decade. A DJ uses the mixer, in combination with the turntables, to switch between two identical records at lightning fast speed, looping or re-combining individual sounds to produce an entirely new beat.
This technique effectively evolved turntablism from reworking existing tracks to composing music. Theodore Livingston a. At 12 years old, Theodore accidentally scratched his record after being startled by his mother. Unfortunately, though, any amount of scratching will do some damage to the record. The damage may not be noticeable at first, but it will be there. Scratching, sometimes referred to as scrubbing, is a DJ and turntablist technique of moving a vinyl record back and forth on a turntable to produce percussive or rhythmic sounds.
Scratching would during the s become a staple of hip hop music, being used by producers and DJs on records and in live shows. The oils from your skin can further degrade the sound quality of the record. So, make sure you wash your hands before DJing with a record to help reduce the risk of oils from your skin getting onto your vinyl.
However, prolonged use of a heavier tracking force found on cheaper turntables between 4 and 6 grams can wear your records faster than a higher quality cartridge and lighter tracking force.
Blending and mixing gave way to scratching, or backspinning a record in rhythm. This gave DJs a way to put more of their own musical selves into the playback, featuring their rhythmic skills.
Grand Wizzard Theodore is attributed with inventing scratching in Similar practices emerged concurrently in the New York art world around the same time in the work of conceptual artist Christian Marclay. If recorded sound creates fixed musical experiences that sit in our memory like non-biodegradable plastics, then the digital sampler is a kind of music recycling machine that breaks down, digests and processes these memories for reuse.
This points the way to a new form of give and take in creative influence. The sampler has been a first step in re-establishing the process of call and response, familiar from oral traditions, in the all-electronic medium.
Jam, Billy. Accessed August 9, An interview with the hip hop DJ credited with the invention of the scratch. For someone who lives for scratch music, visiting legendary DJ Grand Wizzard Theodore GWT --the creator of the scratch--at his Bronx, New York home could only be compared to an Elvis Presley fan making a pilgrimage to Graceland to visit the King of rock 'n' roll in his day. Like many of the great pioneers of hip hop that created the genre on these Bronx streets three decades earlier, GWT was not rich from a culture that he helped shape and form.
In fact he is a warm and humble man who is gracious to be a part of a cultural movement that he never thought would spread from the streets of the Bronx to every other corner of the world. Katz, Mark. Oxford: Oxford University Press, It's all about the scratch in this book about the figure that defined hip hop: the DJ. Today hip hop is a global phenomenon, and the sight and sound of DJs mixing and scratching is familiar in every corner of the world.
But hip hop was born in the streets of New York in the s when a handful of teenagers started experimenting with spinning vinyl records on turntables in new ways. Although rapping has become the face of hip hop, for nearly 40 years the DJ has proven the backbone of the culture. Here the author an amateur DJ himself delves into the world of the DJ, tracing the art of the turntable from its humble beginnings in the Bronx in the s to its meteoric rise to global phenomenon today.
Based on extensive interviews with practicing DJs, historical research, and personal experience, a history of hip hop is presented from the point of view of the people who invented the genre--from the s beginnings of DJ Kool Herc and Grand Wizzard Theodore, to 21st-century Concertos for Turntablists and Academies of Scratch.
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