An Ashgate Book HIP-HOP TURNTABLISM, CREATIVITY AND COLLABORATION This page has been left blank intentionally Hip-Hop Turntablism, Creativity and Collaboration SOPHY SMITH De Montfort University, Leicester, UK First published 2013 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Sophy Smith 2013 Sophy Smith has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Smith, Sophy. Hip-hop turntablism, creativity and collaboration. -- (Ashgate popular and folk music series) 1. Turntablism. 2. Turntablists. 3. Rap (Music)--History and criticism. I. Title II. Series 781.6'49132-dc23 The Library of Congress has cataloged the printed edition as follows: Smith, Sophy. Hip-hop turntablism, creativity and collaboration / by Sophy Smith. p. cm. -- (Ashgate popular and folk music series) Includes bibliographical references and index. ISBN 978-1-4094-4337-7 (hardback) 1. Turntablism. 2. Hip-hop. I. Title. ML3531.S65 2013 782.421649--dc23 2012030315 ISBN 9781409443377 (hbk) ISBN 9781315586823 (ebk) Contents List of Figures vii List of Tables ix General Editor’s Preface xi Acknowledgements xiii 1 Introduction 1 2 Hip-Hop and Collaboration 9 3 Turntablism in Context 15 4 Turntablism and Technology 29 5 The Creation of Original Sound Material 43 6 Team Formation and the Creative Processes of Hip-Hop Turntable Teams 51 7 An Analytical Methodology for Hip-Hop Turntable Music 71 8 Notation and Transcription Techniques 81 9 Analysis of the Compositional Process of UK Hip-Hop Teams 103 10 Conclusion 147 Bibliography 151 Index 163 This page has been left blank intentionally List of Figures 8.1 Webber’s notation for the movement of the record and the direction of the hand on the turntable 86 8.2 Webber’s notation for fader movement 86 8.3 Webber’s notation for articulation 87 8.4 Webber’s staff 87 8.5 Carluccio, Imboden and Pirtle’s notation for the rotation and distance of travel of the record 88 8.6 Carluccio, Imboden and Pirtle’s notation for the movement of the record 89 8.7 The five main functions of hip-hop turntable notation 93 8.8 A score for the notation of hip-hop turntable routines 96 8.9 The staff, subdivided into bars and beats 97 8.10 The rotation of the record versus time 98 This page has been left blank intentionally List of Tables 6.1 Model framework of the devising process 70 7.1 Tagg’s ‘Checklist of parameters of musical expression’ 74 7.2 Hawkins’ ‘Basic types of compositional features’ 75 7.3 Moore’s ‘Stratified layer model’ 75 7.4 Wall’s ‘Elements for analysing popular music meanings’ 76 7.5 Framework for the analysis of hip-hop team turntable composition 78 8.1 Doc Rice’s three categories of fader movement 85 8.2 Doc Rice’s notation for the directional movement of the record 85 8.3 The depiction of sound manipulation techniques 99 8.4 Depiction of sample material 99 8.5 The depiction of other occurrences 100 9.1 Duration of individual sections within the routine 112 9.2 Time signature and tempo of individual sections 112 9.3 Sample types used in the routine 113 9.4 DMU Crew: Manipulation techniques and their users 116 9.5 Duration of individual sections within the routine 123 9.6 Time signature and tempo of sections 123 9.7 Sample types used in the routine 124 9.8 Length of sections within the three-section structure 125 9.9 Length of sections within the four-section structure 125 9.10 The Mixologists: Manipulation techniques and their users 127 9.11 Duration of individual sections within the routine 132 9.12 Time signature and tempo of sections 132 9.13 Sample types used in the routine 133 9.14 The Scratch Perverts: Manipulation techniques and their users 136 This page has been left blank intentionally General Editor’s Preface The upheaval that occurred in musicology during the last two decades of the twentieth century has created a new urgency for the study of popular music alongside the development of new critical and theoretical models. A relativistic outlook has replaced the universal perspective of modernism (the international ambitions of the 12-note style); the grand narrative of the evolution and dissolution of tonality has been challenged, and emphasis has shifted to cultural context, reception and subject position. Together, these have conspired to eat away at the status of canonical composers and categories of high and low in music. A need has arisen, also, to recognize and address the emergence of crossovers, mixed and new genres, to engage in debates concerning the vexed problem of what constitutes authenticity in music and to offer a critique of musical practice as the product of free, individual expression. Popular musicology is now a vital and exciting area of scholarship, and the Ashgate Popular and Folk Music Series presents some of the best research in the field. Authors are concerned with locating musical practices, values and meanings in cultural context, and draw upon methodologies and theories developed in cultural studies, semiotics, poststructuralism, psychology and sociology. The series focuses on popular musics of the twentieth and twenty-first centuries. It is designed to embrace the world’s popular musics from Acid Jazz to Zydeco, whether high tech or low tech, commercial or non-commercial, contemporary or traditional. Professor Derek B. Scott Professor of Critical Musicology University of Leeds This page has been left blank intentionally Acknowledgements I could not have conducted this research nor written this book without the generous help and support of so many people. Shout outs to LLTJ, Yoshi C and Stevie P for their huge support and, very importantly, my mum and dad. Massive thanks go to all the turntable team members who shared their music with me, especially members of The Mixologists, the Scratch Perverts and the DMU Crew as well as all the internet forum members who shared their thoughts and love of hip-hop. I am grateful to the following for permission to reproduce original work in this book: Kimi ‘Doc Rice’ Ushida (tables 8.1 and 8.2); Berklee Press (figures 8.1, 8.2, 8.3 and 8.4 [from Turntable Technique (2000) © Stephen Webber and Berklee Press]); and John Carluccio (figures 8.5 and 8.6 [from John Carluccio/ TTM: Turntable Transcription Methodology © (2000), www.ttmethod.com]). This page has been left blank intentionally Chapter 1 Introduction This book studies the compositional processes of turntable teams working within the hip-hop genre to collectively compose original music using turntables. Since the development of the gramophone at the end of the nineteenth century, the turntable has become an instrument of creation as well as reproduction, changing the shape of music history (Poschardt, 1998, p. 235). This has led to the groundbreaking compositional strategies of hip-hop turntablism, including the development of creative sound manipulation techniques and flexible compositional processes. Poschardt regards the progressive compositional processes inherent in hip-hop turntable music as making the genre one of the final avant-gardes of the twentieth century (p. 392). For me, this is an important area to study as little work has been undertaken so far into the innovative work of groups of DJs working in popular culture. Although the turntable work of art music composers such as John Cage and Pierre Schaeffer is relatively well known among the academic music community, little scholarly work has been undertaken into the equally interesting turntable music taking place in popular culture. The key contribution of this book is in the development of an analytical methodology specifically for turntable music. The development of a model framework for analysing compositional process, as well as a new notation expressly for the analysis of turntable music, allows an exploration of the creative processes of hip-hop turntable teams by analysing both the process and the artistic product that results from that process. In doing so, this book establishes characteristics of compositional process and style and looks at the features that unite the routines without flattening their distinctions. Previous work on hip-hop music has fallen into two camps – either sociological studies that focus on the representation of race or the creation of identity in popular culture (Rose, 1994 and Dimitriadis, 2001) or cultural and historical studies that chart the development of hip-hop music through interviews with influential DJs (Brewster and Broughton, 1999 and Poschardt, 1998). The sociological studies take an academic approach whereas the cultural and historical studies tend to be more journalistic. Brewster and Broughton are extremely derisive of any academic scholarship into DJ culture (p. 20), but Poschardt does explore some cultural and theoretical contexts. There have been a number of short works written concerning DJing in live performance (White, 1996 and Allen, 1997) and one book concerning sample-based hip- hop created in a studio context (Schloss, 2004), but by and large the actual music of live hip-hop has been neglected.