As we go a little something like this…
I respect Q-Bert but at what point do we say — this is just too abstract?
I mean, are these scratches really even on beat except for their starting points? I just feel like turntablism has become more about how many times you can flick the fader and not about real, well thought out, musical scratches.
The super abstract nature was what I really liked about it. Don’t know if I could take it for extended periods of time though.
Yeah, critics were scratching their heads about Coltrane, too. “Musical” is too often defined by what came before instead of what can be done, now.
A lot of turntablism has gone down the toilet and I think it’s largely down to less talented individuals trying to emulate qbert, but what they miss is qbert is always funky. Turntablism kind of lost it’s soul as the techniques advanced to ridiculous levels. Nowadays, I can’t watch a DMC dvd, cos all I’m hearing is fukkin Drum & Bass and a load of fanboys going nuts. I can still listen to Jazzy Jeff’s live at Union Square (86) today and think, damn, that shit is tight, even though the techniques are kinda basic by today’s standards.
I think it’s kind of lame that they gave names to every scratch going, cos that led to dudes learning each one, ticking it off & moving onto the next one, where for me, good cutting is much more freeflowing and loose, not just about three click flares etc.
wow, dude is wrecking it…
First, I read the comments, and I could relate to the criticisms. But, then I watched the video…
Q-Bert is so freakin fresh!!
I don’t know if you guys have ever played jazz or improvisational music, but it’s the same as live scratching…it’s fluid music, spontaneous, funky, quirky. It doesn’t sound the same as multi-tracked scratch sentences. Don’t expect it to sound like DJ Premier, even though we all love hearing Premier cut.
Good shit. One of the best to ever do it.
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