La historia del DJ de hip-hop desde el nacimiento del hip-hop hasta la invención del scratching y el vinilo. Desvalidos y virtuosos que han cambiado la forma de escuchar y crear música.La historia del DJ de hip-hop desde el nacimiento del hip-hop hasta la invención del scratching y el vinilo. Desvalidos y virtuosos que han cambiado la forma de escuchar y crear música.La historia del DJ de hip-hop desde el nacimiento del hip-hop hasta la invención del scratching y el vinilo. Desvalidos y virtuosos que han cambiado la forma de escuchar y crear música.
- Dirección
- Elenco
- Premios
- 1 premio ganado y 2 nominaciones en total
Fotos
DJ Infamous
- Self - The Allies
- (as Infamous)
J. Smoke
- Self - The Allies
- (as J-Smoke)
The Beat Junkies
- Themselves
- (as Beat Junkies)
DJ Rhettmatic
- Self - Beat Junkies
- (as Rhettmatic)
Carlos Aguilar
- Self - Bullet Proof Space Travelers
- (as DJ Quest)
Opiniones destacadas
Being a huge fan of hip-hop and turntablism to begin with, I always knew I would like this film. However, I wasn't prepared for just how good the documentary actually is. It covers almost all the important aspects of the only element of hip-hop which has been there from the very start. The "story" begins in the early 70's, and follows the evolution of turntablism as an art from up until early 2000 (turntablism aficionados will point this out as significant).
The editing is nigh on perfect throughout the film. Aside from the excellent visual "scratch" techniques which they used, the rapid cutting between interviews and the stock footage is excellent, giving the film pace when it is needed. The sound editing is also very good, with some nice sweeping sounds being used to help with transitions.
The absence of a narrator was also welcome. We aren't taken by the hand through the story, and as a result the audience is able to make their own assumptions easier. Each DJ adds another side to the story, and it is so interesting to hear about the unknown stars of hip-hop, especially those who were there when hip-hop was being shunned left, right and centre by the music business.
Although there are many excellent things about this film, I do have a few gripes. The biggest of these is the absence of several notable DJs, such as Ca$hMoney and Jazzy Jeff, and also DJs from outside America, such as Scratch Perverts and DJ Noise. However, if you watch the commentary on the DVD (something which I highly recommend), producer and director go in to great depth about how they regret not being able to feature them. The deleted scenes contain many interviews with Ca$hMoney, Jazzy Jeff and the Scratch Perverts.
This is definitely the best documentary I've seen on hip-hop culture and music. It does stop short of showing the true potential of turntablism; for that I highly recommend checking out the DMC and ITF videos. However, that is a minor quibble. I highly recommend this movie, not least for the phat soundtrack, with excellent music throughout. (9/10)
The editing is nigh on perfect throughout the film. Aside from the excellent visual "scratch" techniques which they used, the rapid cutting between interviews and the stock footage is excellent, giving the film pace when it is needed. The sound editing is also very good, with some nice sweeping sounds being used to help with transitions.
The absence of a narrator was also welcome. We aren't taken by the hand through the story, and as a result the audience is able to make their own assumptions easier. Each DJ adds another side to the story, and it is so interesting to hear about the unknown stars of hip-hop, especially those who were there when hip-hop was being shunned left, right and centre by the music business.
Although there are many excellent things about this film, I do have a few gripes. The biggest of these is the absence of several notable DJs, such as Ca$hMoney and Jazzy Jeff, and also DJs from outside America, such as Scratch Perverts and DJ Noise. However, if you watch the commentary on the DVD (something which I highly recommend), producer and director go in to great depth about how they regret not being able to feature them. The deleted scenes contain many interviews with Ca$hMoney, Jazzy Jeff and the Scratch Perverts.
This is definitely the best documentary I've seen on hip-hop culture and music. It does stop short of showing the true potential of turntablism; for that I highly recommend checking out the DMC and ITF videos. However, that is a minor quibble. I highly recommend this movie, not least for the phat soundtrack, with excellent music throughout. (9/10)
This movie was well put together. It showed many facets of DJing and the DJs themselves. It is not everyday that you see "Out Of Character" interviews with most of these legendary DJs. Instead of seeing "DJs" in interviews you see "people who like being DJs" in interviews (hopefully you followed that). IE. Instead of seeing an interview with Mix Master Mike you saw an interview with Maxwell Schwartz and he explained why he likes being a DJ and being Mix Master Mike and what and who inspired and inspires him. You also get to see what the families of these DJs had to deal with as they were starting out which is quite interesting. As far as interviews go the common issue most people could have is that DJ Jazzy Jeff and DJ Cash Money from Philadelphia were not in it. Regardless, seeing Afrika Bambaataa and Jazzy Jay (The Original Jazzy Jay) and other Hip Hop originators was worth the price of the movie. You don't see or hear from these people everyday. The only other issue is more of an industry issue where there was only one female DJ interviewed but that is just a sad reflection of the Hip Hop DJ industry. There should and could have been more interviews with more female DJs...they are out there. This is a movie where a parent who remembers the good ol' days of Hip Hop would appreciate it and they would bring their children to see it. It shows that Hip Hop and the art of DJing has evolved and is not just "As it is!" I'm a house DJ and scratching is not something that is done in House music but I love this movie. Don't get it twisted I've always been a fan of Hip Hop. Great Movie. Cheers.
I'm not a fan of scratching, but I really dug this movie. It gave me a real insight into a world I never had a clue existed; and what else is a documentary for? Funny, clever, hip - just like Pray's previous film, Hype! about the grunge music scene.
Scratch is the story of scratch music's evolution from its birth in the late seventies/ early eighties to its ever growing musical status in modern day culture. Scratch tells the story of the music with the help of some of the most important scratch pioneers of the last 20 years, such as Babu (of Dilated Peoples and Beat Junkies), DJ Q-Bert and Afrika Bambaataa amongst others. These interviews give us an incite about how the music was born and its growth. We also get helpful tips on the art of scratching from Q-Bert and Mix Master Mike (from The Beastie Boys).
I am interested in a lot of genres of music, jazz, rock, indie etc. but I have never invested much interest in scratching, sure I have all the classic rap albums, Dr. Dre, Snoop Dogg, Eminem etc. and I have recently got into new hip-hop (a musical genre that uses DJs a lot) such as Dilated Peoples (who's performance in the film made my day), Blackalicious and Jurassic 5 (also featured), but I still had no idea of the art of scratching (or turntablism as it's referred to here), so I went into this movie no sure what to expect.
This movie is very similar to a lot of the documentaries that have been appearing in the last few years from America, such as Baadasssss Cinema (the story of blacksploitation films), The Backyard and Beyond the Mat (both about the growing popularity of wrestling). But the documentary it seemed to have the most in common with was American Pimp (the story of surprise, surprise American pimps). It was almost the same documentary, sharp editing, grainy camera work, loud soundtrack, sharp dialogue and the DJ's taking over the part of the flamboyant, over the top and eccentric pimps and matching them for madness on every level. And I was justified in my beliefs when I read in the credits that the film was produced by the two directors of American Pimp, Allen and Albert Hughes (who also directed Dead Presidents and From Hell) and later found out that the director of Scratch, Doug Pray was also the editor of American Pimp (he also edited Scratch).
It's not surprising that it is edited by the director as the editing is an important part of the movie and helps the music get noticed a lot more. He almost makes the footage like the music, rewinding it slowing it down, speeding it up and all sorts of other techniques, which although brilliant do give you a bit of a headache after an hour or so.
But apart from the moderate headache this is a very good movie that I thing will really change your opinion on scratching if you aren't a fan. And if you are a fan then this is a must see. Good direction, superb editing and an interesting subject matter, go and see it if you get the chance.
7 out of 10
I am interested in a lot of genres of music, jazz, rock, indie etc. but I have never invested much interest in scratching, sure I have all the classic rap albums, Dr. Dre, Snoop Dogg, Eminem etc. and I have recently got into new hip-hop (a musical genre that uses DJs a lot) such as Dilated Peoples (who's performance in the film made my day), Blackalicious and Jurassic 5 (also featured), but I still had no idea of the art of scratching (or turntablism as it's referred to here), so I went into this movie no sure what to expect.
This movie is very similar to a lot of the documentaries that have been appearing in the last few years from America, such as Baadasssss Cinema (the story of blacksploitation films), The Backyard and Beyond the Mat (both about the growing popularity of wrestling). But the documentary it seemed to have the most in common with was American Pimp (the story of surprise, surprise American pimps). It was almost the same documentary, sharp editing, grainy camera work, loud soundtrack, sharp dialogue and the DJ's taking over the part of the flamboyant, over the top and eccentric pimps and matching them for madness on every level. And I was justified in my beliefs when I read in the credits that the film was produced by the two directors of American Pimp, Allen and Albert Hughes (who also directed Dead Presidents and From Hell) and later found out that the director of Scratch, Doug Pray was also the editor of American Pimp (he also edited Scratch).
It's not surprising that it is edited by the director as the editing is an important part of the movie and helps the music get noticed a lot more. He almost makes the footage like the music, rewinding it slowing it down, speeding it up and all sorts of other techniques, which although brilliant do give you a bit of a headache after an hour or so.
But apart from the moderate headache this is a very good movie that I thing will really change your opinion on scratching if you aren't a fan. And if you are a fan then this is a must see. Good direction, superb editing and an interesting subject matter, go and see it if you get the chance.
7 out of 10
As one who is generally unfamiliar with the hip-hop scene but has tried spinning, the movie does a great job of presenting turntablism as an art form. It also did a good job emphasizing that hip-hop is meant to be fun, and it is by no means about the rough-and-tumble gangsta rappers of years past.
Despite the long list of DJ's listed on the marquis, this movie was pretty much about scratch deejay extrodinaires Q-bert and DJ Shadow, with cameos from many others including Afrika Bambaataa, Mix Master Mike, DJ Craze, and Grand Mixer DXT of "Rockit" fame. I got the feeling that the whole movie was just a compilation of interviews, and Q-bert happened to be the chattiest among them.
Director by Doug Pray - who previously did Hype! (about Seattle grunge of the early 90's) and American Pimp - put together a film that I thought was of much higher quality than the other dj movies "Groove" or "Better Living through Circuitry". However I found the stream of interviews, and lack of drama got a tad tedious, making the 87 minute-long movie seem more like two hours. (Of course it is a documentary).
The mediocrity of the interviews was nicely interrupted by quirky references to intergalactic beings; repeated cut-ins of the first MTV-ised scratch in "Rockit"; and some funky cinemetography that made the film visually interesting, and even funny. For scratch dj' in the know however, the presentation is begging for some of the nitty gritty how-to's that would make this documentary a bit more meaty.
My favorite scene? Record digging with DJ Shadow as he explored the dusty, low ceilinged basement archives of a record store. This scene added an element of reverence to the act searching out vintage beats, and helped me understand why Moby *hires* people to dig for him.
Although I was so fortunate to see the film at the Red Vic - right next door to Amoeba Records (featured in the film) - with a house that was probably full of SF's finest djs, This film is probably best watched at home - with decks at the ready. Even novices just might have the urge to walk away from the movie now and then to give scratching a try after watching how its supposed to be done.
Despite the long list of DJ's listed on the marquis, this movie was pretty much about scratch deejay extrodinaires Q-bert and DJ Shadow, with cameos from many others including Afrika Bambaataa, Mix Master Mike, DJ Craze, and Grand Mixer DXT of "Rockit" fame. I got the feeling that the whole movie was just a compilation of interviews, and Q-bert happened to be the chattiest among them.
Director by Doug Pray - who previously did Hype! (about Seattle grunge of the early 90's) and American Pimp - put together a film that I thought was of much higher quality than the other dj movies "Groove" or "Better Living through Circuitry". However I found the stream of interviews, and lack of drama got a tad tedious, making the 87 minute-long movie seem more like two hours. (Of course it is a documentary).
The mediocrity of the interviews was nicely interrupted by quirky references to intergalactic beings; repeated cut-ins of the first MTV-ised scratch in "Rockit"; and some funky cinemetography that made the film visually interesting, and even funny. For scratch dj' in the know however, the presentation is begging for some of the nitty gritty how-to's that would make this documentary a bit more meaty.
My favorite scene? Record digging with DJ Shadow as he explored the dusty, low ceilinged basement archives of a record store. This scene added an element of reverence to the act searching out vintage beats, and helped me understand why Moby *hires* people to dig for him.
Although I was so fortunate to see the film at the Red Vic - right next door to Amoeba Records (featured in the film) - with a house that was probably full of SF's finest djs, This film is probably best watched at home - with decks at the ready. Even novices just might have the urge to walk away from the movie now and then to give scratching a try after watching how its supposed to be done.
¿Sabías que…?
- TriviaTo create the "scratched" sequences in the film (where a person during an interview suddenly speaks as if the film itself is being scratched), director Doug Pray sent audio clips which had been recorded onto vinyl to DJ Q-bert, who scratched them, and sent the recordings back to Pray. Pray then edited the interviews to match the scratched sound.
- Créditos curiososApologies and respect to the many great DJ's and others who we were unable to be included in this film.
- ConexionesEdited into Destination Planet Rock (2007)
- Bandas sonorasRockit 2.000
Performed by Herbie Hancock featuring Grand Mixer DXT, Mix Master Mike, Rob Swift, DJ Q-Bert (as Qbert), DJ Disk (as Disk), Babu, DJ Faust (as Faust) and Shannon Ames (as Shortee)
Reconstruction and mix translation by Bill Laswell
Courtesy of Transparent Music and Columbia Records
By arrangement with Sony Music Licensing
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- How long is Scratch?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Sitio oficial
- Idioma
- También se conoce como
- Ди-Джей
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 289,885
- Total a nivel mundial
- USD 289,885
- Tiempo de ejecución1 hora 32 minutos
- Color
- Mezcla de sonido
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