Groove Music: The Art and Culture of the Hip-Hop DJ

By Mark Katz | Go to book overview

7
Legitimacy: 1996–2002

Two turntablists face each other from opposite ends of a large room. One launches a flurry of scratches and then points at the other, daring him to do better. The second DJ gestures dismissively and scratches right back All the while, an attractive woman dances behind a third set of turntables positioned in between the two men, swinging her hips. The music stops and she purrs, “My first love—boys who scratch.”

This should be the point when the DJ wakes up suddenly, a smile on his face. But this is no nocturnal fantasy. The setting is an August 2001 television commercial for the clothing retailer, The Gap.1 The battlers are the celebrated turntablists Shortkut and Rob Swift, and the woman is Shannyn Sossamon, a former DJ turned actress. The fact that all three are clad in denim is no coincidence: this is a jeans commercial.

Though only thirty seconds long, the commercial speaks volumes about the state of the hip-hop DJ at the beginning of the new millennium. The Gap spot was just a part of broader changes taking place at the time. Starting in the mid-1990s, DJs were collaborating with pop, rock, jazz, and classical musicians, bringing the sound of scratching to new audiences. As soloists and as crews, DJs were recording albums, collectively demonstrating that they could be composers capable of creating cohesive, long-form works; a handful of DJs even developed notation systems in order to preserve their art and to claim for it a place in high culture. In 2000, DJs from around the world gathered in San Francisco for Skratchcon, an event billed as “The worlds first conference dedicated to the education and development of skratch music literacy.”2 Hosted by the Invisibl Skratch Piklz, this one-day program of public seminars revealed a growing consciousness among turntablists of their history and a growing desire to demonstrate the richness of their art. Two well-regarded documentaries, Battle Sounds by John Carluccio (1997) and Doug Pray’s Scratch (2001), exposed turntablism to those who thought it was little more than ruining

-179-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Groove Music: The Art and Culture of the Hip-Hop DJ
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgments vii
  • Contents xiii
  • About the Companion Website xv
  • Introduction 3
  • 1 - The Breaks and the Bronx- 1973–1975 14
  • 2 - Mix and Scratch—The Turntable Becomes a Musical Instrument- 1975–1978 43
  • 3 - Out of the Bronx and into the Shadows- 1978–1983 70
  • 4 - Expansions- 1983–1989 100
  • 5 - Turntablism- 1989–1996 127
  • 6 - The Art of War-the Dj Battle- 1991–1996 153
  • 7 - Legitimacy- 1996–2002 179
  • 8 - Fallinq Barriers- 2002–2011 214
  • Conclusion- Full Circle 249
  • Appendices 254
  • Notes 265
  • Discography 296
  • Bibliography 303
  • Index 313
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 333

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.