DJ Notation / Turntablist Transcription Methodology with DJ Raedawn

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[00:01:02] It's smart.

[00:01:04] It's insightful.

[00:01:07] The way that they communicate a complex message in a very short space is remarkable.

[00:01:14] And a lot of these kids, they're not going to be reading the New York Times.

[00:01:17] That's not how they're getting their information.

[00:01:35] So Hip-Hop didn't invent anything, but Hip-Hop read it in red and everything.

[00:01:43] DJ Ray Dawn, what up man?

[00:01:45] What's up?

[00:01:46] How are you surged to be with you?

[00:01:47] Thank you for your patience and scheduling a time to talk.

[00:01:50] I appreciate you.

[00:01:52] Great to be here.

[00:01:53] It's a longer time than you think when I say we reconnected.

[00:01:56] I said no, no, you're on my list and you're like, yes sure, okay whatever.

[00:01:59] But no, you was on my list for a very long time.

[00:02:02] Oh, I've done.

[00:02:03] 2019 or 2020 year at NYU, our CIVING conference, Martha Diaz put it together.

[00:02:10] Oh, you were there?

[00:02:10] I was there.

[00:02:11] I'm in the audience.

[00:02:13] And so a long time ago, I came across sort of your work and liberty, a history.

[00:02:17] And so it has been a long road here.

[00:02:19] Now I got cameras and stuff, so it's even better.

[00:02:22] So that's fine.

[00:02:23] So that all being said, please if you could introduce yourself as to how you'd like to present yourself to the world if you would.

[00:02:29] Word, I have my name is DJ Radon and as far as hip-hop education.

[00:02:36] I've been teaching turn tables of music in my turn table as transcription methodology for over 20 years.

[00:02:43] I've been in a system of music notation for DJ music.

[00:02:47] In 1999, I had a book called The Fund of Minals.

[00:02:50] I gave that to John Perluchio and Ethan and Bowden.

[00:02:52] And then we did my second book on scratch notation called TTM 1.0.

[00:02:56] So TTM 1.0 was my second book on scratch notation.

[00:03:00] So yeah, for the past 24 years, I've been spreading my system all around the world.

[00:03:05] And now it's being used in schools in the UK and the Leister Shire district.

[00:03:12] In the primary schools there is using college dissertations all around the world.

[00:03:18] It seems DJ schools around the world.

[00:03:21] DJs use it all around the world to communicate with each other to figure out new ideas to remember their.

[00:03:26] Their ideas. But it's all being heavily, I'm heavily blacklisted and I have no teaching position teaching my system.

[00:03:33] Even though everybody is teaching it around the world, I just got denied this year for the next level program.

[00:03:37] They chose me in 2016, which was great. This year I just my application just got rejected.

[00:03:42] So you know there's a lot of push against hip-hop being highly intellectual or for, you know, because my work uses physics and trigonometry calculus.

[00:03:52] Yeah. And they don't want people to know that even hip-hop press, that's why I agreed to be here because you know, I'm heavily deprecated by even hip-hop press and any press in general.

[00:04:06] I'm getting some press, you know, when he years ago, but even hip-hop press, it was like accelerator magazines, it's been a time magazine, it's been a black book magazine, did it really good article stuff like that.

[00:04:19] But yeah, so you know, some of my work is based in the physics, the physics of turn tableism. So it's the first music, music notation language has based purely in physics.

[00:04:30] So from what I understand, and you touched upon it, you were developing sort of the system and then you linked up with the other folks and y'all kind of came out with this next level.

[00:04:39] And then you split off and then came all the way here.

[00:04:41] Oh, you know, yeah, John was publishing the book at the time. So John helped me. So I did it every in TTM one point know that book, that's similar book.

[00:04:48] I did all the all the designs in the book. John helped me with the publishing of the book and getting it out there.

[00:04:55] We got like truth dot clown back in the day to be a sponsor and different sponsors back in the day helped us, you know, produce physical free book list that we gave out at different shows and stuff.

[00:05:04] And then Ethan and both in the industrial designer he helped with the actual grid because when I had given them my first book, my grid was all done in Photoshop.

[00:05:15] And I was literally like cooling lines and stuff like that. It was all bitmap. I wasn't even using illustrator. So when we did the second book, I did everything in Illustrator and he helped Ethan helped with the one thing that he did add in that book was just formatting and you know page one page two stuff like that, the formatting stuff.

[00:05:32] But then he helped design the actual grid having a slope to it because before mine was just a matrix of just a general grid.

[00:05:43] But then he added a little slope so that the work could be written on the slope instead of before my book, the word was just written on the side of the bar.

[00:05:52] So specifically the X and Y axis adding a little dimensional.

[00:05:55] It's just the motion. It's over time. So if we're forward, it's going up if the record's going backwards and you're pulling back the slope is going down. So if you're going forward backwards for backwards.

[00:06:07] Just the wave just like a regular sign wave.

[00:06:10] And the matrix is incredible. The periodic kind of layout that you develop of like sort of all these different types of scratches types of scratches that are found all through hip hop, of course, all through EDM as well sometimes but you know the turn table is them.

[00:06:26] Battle, battle scratching kind of stuff.

[00:06:28] What was it that you were a DJ at some point and then you said, hey, I need to start thinking about recording this like what was the influences in your life that said this isn't this is not something like musically like, you know, we have notes. We have notations that this isn't really being documented. This isn't something that people do. How did that initial thought kind of pop in your head.

[00:06:48] I would say it was I was at NYU. I was you know, with their 97 graduate 2001 so I think in 97 when I got to New York I was just kind of scratching every day scratching every day.

[00:07:00] I had met David torn who was my roommates that he and David torn is like an experimental guitarist.

[00:07:07] Okay, his son and him have both taught me how to use logic. So I was you know, have a lot of using logic and using they taught me about how to use the envelopes and logic so you know this very similar to you know envelope notation that's used in DAW's where it's like, hey, you want the volume to go down or even you know you're probably using it on podcast stuff you're like, you're getting angry.

[00:07:37] I did was it was actually DJ Cuber. It was DJ Cuber had a contest he had a sort of something called the global scratch foundation way back then and they had a scholarship. It was a $1,000 scholarship.

[00:07:48] It was like a $1,000 scholarship to anybody that can you know help take hip hop to another level that I thought like that.

[00:07:55] And so I was like, oh wow, so you know that's what's the thought I got all that together and because I had these ideas in my house. I said, hey, you know, I submitted that to DJ Cuber's thing and I actually wanted the next year.

[00:08:07] I won the DJ Cuber scratch master award they had two awards like the DJ Flair award scratch interview award in the DJ Cooper scratch master award. So I sent him like a video plus my system and yeah, I won the award they sent me a thousand dollars and they had me come to scratch con in it was in the the year per Buenos Center in in San Francisco back that was like summer July or something to 2000 of 2000.

[00:08:35] So I presented it as scratch con and then well actually nobody ever lit me this distance to the corny as a politics of nobody actually lit me presented it because a track presented a plagiarization of my exact system that day.

[00:08:49] When he asked scratch con he admitted that he actually had seen my system first.

[00:08:54] Okay, all right, I got you. So the least it on camera that he had seen my system and then did a presentation at the ceremony where I received the award for my system.

[00:09:05] That's that be awkward. I said, you know awkward day.

[00:09:09] Oh, yeah, I was just like, wow, I'm year old. These famous DJ. Oh, wow, it's crazy. Right.

[00:09:17] Let me ask you though the importance going back to how we started and where I saw you first the archiving aspect of it so it's great to do this like from your perspective, you know why is this important you know obviously all the all the politics aside all the you know

[00:09:33] things that could happen in the world of invention you know that happened. And I hope that things have worked out and that you've gotten the credit you deserve and that's why we're talking about it.

[00:09:41] That being said, why is this important why should anyone care that this is even happening who cares why.

[00:09:47] So this is important because you know I actually I very much agree with your your thesis like hip-hop to save the world save America and save the world, you know,

[00:09:58] and next. I feel that you know when people talk about STEM versus steam, I think you know for me, I'm more in the steam side because I think the arts are the foundation for

[00:10:10] every other science whether it's engineering, whether it's physics, whether it's literature, whether it's whatever, you know you have to use art to draw these things, you know to draw this

[00:10:20] mathematics, you know so the visual representations. Yeah, you know so the importance of this is DJ literacy like if you're doing math,

[00:10:29] you could do math in your head, you can just teach kids, you know, time tables and but you're only going to be able to go so far if you're doing everything in your head.

[00:10:35] Same with writing it's like you know they say J. Z was able to you know do whole albums just you know off off without writing a down, but you know I believe he was writing stuff down whatever he's doing that for the camera

[00:10:45] for that particular album but because it's going to help you, you know it's like obviously you could you know do everything your head and not write it down and just

[00:10:51] but stop your whole album or do your team but being able to write things down that's called literacy so I'm the the first DJ pushing scratch literacy

[00:11:02] and you know hundreds of DJs around the world if not maybe I'm sure a few thousand now you know not hundreds of thousands not ten thousand

[00:11:10] but you know you know in the 90s it was just a handful of people that I mean not 90s the early 2000s it's a handful of people that understood you know by now

[00:11:18] it's you know maybe over you know over a couple of thousand people are scratched literature which is great always expanding and expanding eventually be ten thousand

[00:11:25] I like the two the two aspects that I enjoy is that one and I've seen you do this because I've seen like a video of your workshop where you're teaching someone scratching right because this is and there's all kind of you know

[00:11:36] scratch teachers or DJ teachers at teacher and table isn't from the basics and you can use the notations to teach

[00:11:42] the physical movements because obviously people are visual learners and there's that whole multi-retailing instances and you might be a more visual learner

[00:11:50] like I know I learned how to scratch is you just do it but you know, but to see the visual representation of a you know a flutter or a chirper you know some of these different things

[00:12:00] and you could say oh that's what I'm trying to accomplish you know I see it now visually and now like so that got to be an interesting way to teach scratching yes

[00:12:07] okay exactly because you know in the 90s I was you know having to just rewind DMC videos like 93 DMC and I think I had 96 5 DMC and that was it and I

[00:12:19] was reminding you juices were really inspired me I was like wow I want to do that I want to scratch like that and stuff

[00:12:25] yeah I'm sorry I wasn't even back then if you're rewind those OVHS tapes people could be moving so fast you can't really see what they're doing

[00:12:31] you can hear it but there's different way the same thing you know that um you know a lot of scratches are kind of mimic scratches where you know

[00:12:38] you could you know there's three ways to make a similar sound or ten ways to make something that sounds like the same rhythm so

[00:12:44] you can't you know you're trying to see rockwaters hand in this oh wait wait what was going on here you know things like

[00:12:49] like rockwaters could go faster than the cameras so this now now then know the digging in the weeds and nerd you know DJ side so you said there's three ways to make a sound but it's

[00:12:58] so how do you record that with a notation I could go I could go that that that and I'm transforming or I could walk that

[00:13:06] that that and I'm doing like a two-click flare you know okay and it's a similar sound so some more

[00:13:12] I mean so there's different ways to make the same type of rhythm I mean I mean like and you're able to

[00:13:28] know when he's has a lot of vocal inflections like uh uh uh uh uh uh for any sound they can do those four different types of uh

[00:13:38] inflections and since we're English speakers we're not used to hearing all these inflections but to be them they can hear those really really small nuances so

[00:13:45] it's the same with turn tableism where most DJs are just going to hear like oh sounds like he's transforming but DJs that are in the

[00:13:56] way. So it's very subtle differences that make the notation important because again you you could be you could be

[00:14:04] misrepresenting what they did. It's an actual misrepresentation of how they made that sound happened

[00:14:09] when you're saying no we're going to be precise about the notations so teaching it one way is is one and then the thing I'm now leading into with that statement is

[00:14:16] the importance of archiving the importance of archival when you one of the things you said somewhere was well this is how you can

[00:14:22] notice a battle, a scratch a routine because it's it's never the same thing twice it's always kind of on the fly that's the great you know in prompt to nature of these things

[00:14:32] and yeah we can record it to hear it and we can record it to see it but here's a way to record it to show what was done

[00:14:39] definitely definitely the exactly so um it also works for people that can't scratch like let's say somebody's disabled and they can't you know they can't physically scratch

[00:14:48] they can't physically DJ they could you know write down which means for somebody else or write something down

[00:14:53] because it goes both ways you could record a routine but you could also program a routine exactly about a term like so it

[00:14:59] the room for scratch composers it opens the room for screened people that are regular composers I wanted incorporate scratches and learn the language to be able to communicate with scratch DJs

[00:15:12] and it's also you know it's also a tool for like you're seeing documenting history and documenting history you know I started in that first book the fundamentals

[00:15:24] I didn't do any transcriptions of any things I just they like you know just general oh I'm scratching this I just talked about scratch techniques but in my second book TTM 1.0

[00:15:34] I transcribed roughs with routine scratching like scratching scratching scratching scratch scratch what is it and like

[00:15:42] what is it what is it what is it what is it what is it

[00:15:50] you know so I actually I wanted to rewind his VHS a thousand times back then I was literally just reminding it and like and and there's one little part I actually messed up in it because

[00:16:01] you know at that time I wasn't really good at church and this Italian DJ maybe a decade later was able to

[00:16:07] re-transcribe it and fix that one little use of some church flares I think and I didn't know how to do church flares at the time in 2000

[00:16:17] and you know I learned church flares over the past two decades but at that time I didn't and he actually fixed it and that's was great people can look at other people's routines

[00:16:25] and he's perfecting fixed things you know sort of open source a little bit yeah yeah like open source thing and you know so you know I've been you know putting it out there

[00:16:35] to help people and what I've noticed too is that back in the day I used to you know just practice two hours a day to you know just practice all the time every day

[00:16:44] but I realized once I became literate I stopped having to practice as much because you know it's just like you know if you know your ABCs you know how to read you can pick up a book ten years later

[00:16:54] and you know this is like you might have been faster if you're reading you know you might have been faster in college or a grade school or or high school when you're reading all the time

[00:17:02] but the thing is it's like you know it's just like a writing a bicycle once you have foundation you do it so once you're able to be scratched literate

[00:17:10] your brain doesn't have to work as hard anymore because because your brain is just focused on like hey I'm a little bit rusty in that particular character that technique

[00:17:18] you know but I've got all these other techniques down but if you can't even visualize those techniques it's just all in your head and then it's like things can get merged you forget stuff over the time

[00:17:28] I forgot I can do that technique you know if I was like a fat up framework that kind of yeah exactly yeah yeah

[00:17:34] let's read out what is it helps your brain it helps education it helps you become strong on a turn table so now all the all the top DJs that are winning all the DMCs are are literate and TTM

[00:17:45] like a case with from New Zealand child case with you know all these DJs are using TTM or at least you know cognizant of TTM

[00:17:56] yeah you let into what I was going to ask necessarily you know right right like say real world examples of how this benefits you know people and and you're saying yeah certainly the DJs

[00:18:05] but you mentioned also that's being used in schools so how do you see that being you know being used how do you see those institutions taking this on is it just a performance type classes or is it a little bit more of the radical stuff or historic

[00:18:18] where do you see it being used and how do you how do you see being transforming no pun intended transforming

[00:18:24] or that's what you mean first of all hip hop education schools in general because like over the years I've always noticed that like and when people bring hip hop into class as always the English class and it's always like

[00:18:36] oh look at two-pock you know they're always bringing two-pock and like two-pock great yeah two-pock great but you know they never bring it in freestyle fellowship

[00:18:43] they're never bringing in lyricists that don't have like debauchery and stuff that's not any place for the school system

[00:18:49] and I feel like there's a strong effort to demoralize hip hop you know in the commercial realm obviously but even in the hip hop academia realm

[00:18:58] you know most of the hip hop that's used isn't clean and it's like oh we're going to do a course on Rick Ross or whatever you know and it's like yeah okay you know two-pocks great

[00:19:08] but you know there's so many you know I'd love to hear you know Mike and I and her AC alone or whoever you know

[00:19:14] like the top of the literature so when it comes to turn tables and my stuff is very rooted in you know physics class geometry class

[00:19:21] there's so many applications for it but obviously you know there's a big resistance because they don't you know I personally am the first free person in my family you know I was born in 79

[00:19:32] all of my family members before me were you know born under you know the caste system apartheid of you know

[00:19:39] whether called Jim Crow and coming out of the slavery wars and all that type of stuff yeah so you know me being the first

[00:19:45] free generation where I could go to school with the top cast your P&A as per a I've noticed a lot of you know there's a lot of resistance towards

[00:19:54] the black community coming up as far as inventions as far as anything you know our patents have been stole over time you know so many different barriers so I think there's a big bear you know here in the US

[00:20:06] like I'm in Atlanta right now and I'm not going to you know put my I got a two year old I'm not going to put my kid in the schools here I'm going to be homeschooling him because you know kids can't read here

[00:20:16] you know I'm saying all over the nation it's not just a you know a Jordan problem for all the nation just the school systems are horrible and you know so if you have horrible

[00:20:25] school systems that can't even read they're just like hey we're trying to get these kids even read of course they're not going to bring in you know

[00:20:31] turn tables as geometry and turn tables physics and algebra and trigonometry and stuff that can relate to their culture that that's going to help them even though it obviously helped them

[00:20:41] and all the stuff all the stuff works and as we see it's like that's what you go to UK and DJ culture is part of their culture you know like you go to a museum

[00:20:50] and in the EU and and say oh there's a DJ playing at the museum you know so for them DJ they respect DJing as an art form

[00:20:58] so now in the life like the school just girls talking about the the licercio district they actually allow people to have the turn table as an instrument now so it's like yeah I want to be a trombones that's my major instrument or I'm going to be a

[00:21:11] turn table is that's I want the the turn table as my instrument so you know like you know here to America all the kids are into the trap and all that type of stuff in the public schools

[00:21:21] and private schools too and obviously if they were if they were able to you know bring the clean literature because obviously you can't bring young thug

[00:21:29] music for the classroom sure but you know there's people that that are current rappers that are all right now making new albums

[00:21:35] that you could bring their work in the classroom and and related to the students and teach them you know literary techniques through hip hop science so I think so I think hip hop

[00:21:46] education will be the future of American education and possibly even global education of the future because kids like for me I remember

[00:21:55] my teacher said I'll get actually credited if I could remember this tross or things this is in high school and

[00:22:01] and I was like man I was trying to memorize I came and I said so I made it into a rap form and I was like oh well I able with this summer

[00:22:11] and I was like I was like you know how you're seeing there's different types of learning and the kids that aren't able to pass these standardized tests

[00:22:22] you know they can if you ask them to recite you know some thug or lyrics they'll have a single one your songs they could recite a hundred Drake songs 100 songs they have all these things sort of in their head

[00:22:32] but they've never seen that written on the classroom wall they've never seen it so I have another system called lyrical transcription methodology that I asked you about that

[00:22:40] yeah for for rapping that um that kind of came out of TTM when I was transcribing uh I think I was transcribing like this blondie thing and but it kind of came out of that maybe the

[00:22:52] Freddie says everything's fly or something like that like your master flash and the wheels and steals and back to the the transcribing thing of stuff through history

[00:23:01] I you know I started with the robbs with thing and it maybe I've done like 15 routines over time or probably less you know I had a column in scratch magazine around

[00:23:10] 2005 where I was transcribing different classic routines over the years yeah so like a portus you know I did portus transcribe

[00:23:21] portus had only you uh transcribe a couple of premier tracks you know DJ premieres you know his you know one of the best as far as producers and turn table us you know even doctor dr. Draze turns Ableston

[00:23:33] he's the richest on table us

[00:23:35] yeah that's right I'd love to say you know if you know well you know you see me talk about this stuff all the time obviously that those techniques work they work across the board

[00:23:45] but they do work uh perhaps you know a lot of times people say well you know all the young little black kids don't learn that way and that's great because obviously yes if you can uplift those communities which have been traditionally underserved and under

[00:23:56] resource under the American education system that that's great it's necessary and it's needed and it's the most important part of this but also like anyone

[00:24:03] you know you can learn this and anyone could have fun doing this and anyone could uh you can do cities concepts do this you know like you said London you know you put a

[00:24:11] turn table in front of some English kid and all of a sudden they're you know they're making these connections their head

[00:24:15] yes you know the worst you can fool the girls and the girls were into it even more yeah not a percent so all's get muslim everybody all

[00:24:22] the universal it's universal people from around the world and right now and in the UK you know learnings

[00:24:30] crash notation in school so they're learning you know they're drawing the trigonometry waves at the same time

[00:24:35] right I think that's right that's what calculus is makes a lot of sense to me calculus is when you're cutting up waves you know and you know

[00:24:52] I believe that there's always some way to introduce any concept to a kid of any age you know they might not

[00:24:59] understand the details of it but you can teach them vocabulary of it you can teach them all types of things you know

[00:25:03] earlier the better to get some of these influences and their in their little brains

[00:25:08] uh before we get out here I didn't want to ask you just give me an idea of what the lyrical transcription thing

[00:25:13] does because from right understand now we're talking you can read lyrics but this is how you can hear written lyrics by you know

[00:25:20] you know the intonations and the inflections and all the things right so today we have classical music notation

[00:25:27] to help us do lyrics like let's say you want to you know most people it came out of the

[00:25:32] monastic tradition right classical music it was designed to read two things at once we're reading the words

[00:25:38] and then you have the little um you have the notes above it you know or below it whether we weigh like if somebody is at church

[00:25:45] or something like that and they're reading him so that's what it was designed for is for

[00:25:50] and those notes were very long notes like monks back in the day it's like oh no right

[00:25:55] you know so it's very simple very notes it's about a time you know cold train and glass be

[00:26:00] and people started going super fast and going to do it's like yeah you can draw that you know with

[00:26:07] classical notation but classical notation classical notation is kind of a coded language is kind of

[00:26:13] it's not intuitive it's coded and you can learn something coded it's a form of encryption

[00:26:17] you know and if you're trying to educate you don't want to educate people with encrypted things

[00:26:21] it's like imagine you had a keyboard on your if you didn't have the letters on your keyboard

[00:26:25] you know like say yeah if you know how to type you don't need the letters but having the letters there is very

[00:26:31] very helpful you know so my system is basically very very simple it's just um stretching the words

[00:26:38] over time over an actual graph you know so if the word a you know somebody's like hey

[00:26:46] but somebody could be like hey so it's going to be longer so the word a would be stretched exactly how

[00:26:51] it falls about the timeline if you're editing and you actually see the waves and you see the words so just

[00:26:56] yeah it's a very very simple system the benefit of that is that right now currently if you go

[00:27:02] to the line and you type in some lyrics of a popular song let's say you say run DMC and you type in the lyrics

[00:27:08] and you try to recite it there's no way you could figure out how to recite it from the way from just seeing

[00:27:13] the words written down when if they phrase it in this simpler way like oh yeah every bar is is one line

[00:27:19] or every half of bars one line you still don't know which word is you know like was that word

[00:27:23] you know shorter you don't know the double it and then pause and then pause and then double it

[00:27:28] only way for you to know how to say is to actually have heard the song right but none system

[00:27:32] you can actually recite songs that you've never heard before without having to learn classical music

[00:27:38] notation yeah it makes sense really difficult because really difficult to look at two things

[00:27:42] that want and to learn classical, in classical music people can't even do the patterns that

[00:27:47] rappers are doing now let's try to say right right right right right right

[00:27:49] I remember when I when I use to when I wrote writing I was I rap we all you know at some point

[00:27:52] um but I was you know rapping what I would do is um to remind myself that I need a double up in this space and say

[00:27:57] quick ride underline it. And then I put a slash to say there's a pause. Yeah, my little,

[00:28:03] yeah, little note. So my own little thing. So I would know and sometimes I'd write if it

[00:28:06] has to come in before the the one I finished writing it on the top line and then the one,

[00:28:10] you know, so little ways so that I would know the cadence and I would know remind myself how

[00:28:16] I'm supposed to say it, you know, and accordance to the beat. So I understand the cost that

[00:28:20] perfectly, but I see it done with such a rigor is, you know, it's interesting.

[00:28:24] But on that note, you know what I'm going to do is because you know, I've always been

[00:28:27] transcribing things that are like, you know, very obscure old school stuff, classic,

[00:28:32] seeing like I transcribed the lyrics of MC light. You know, when you say you love me, it doesn't

[00:28:38] matter. It goes into my head and it's just your chatter. But the funny thing is, I did it,

[00:28:42] transcribed, just synced up with her video with the, you know, little cursor going real time. And

[00:28:47] they blocked it. Oh, right. Well, yeah. Right. Oh, but I always work and they block it.

[00:28:53] I'm like, okay. Well, you know, maybe I should just do the opposite instead of focusing on,

[00:28:57] you know, transcribing underground stuff, just go to the top. So I've been thinking about transcribing,

[00:29:01] you know, kind of like us, verse, even though he has so much, you know, profanity and still transcribing

[00:29:07] that, so people can see people can see all his lyrical patterns that he's actually using

[00:29:12] and how long each word is. And so I'm working on making a site that's kind of like genius,

[00:29:18] but or any lyric site, but a lyrics like that's all based on lyrical transcription methodology,

[00:29:22] and calling it lyrical bank. I started the Facebook page for it, but I don't have a website for it yet,

[00:29:28] but making a lyrical bank a lyrical repository where rappers can have the transcription of their

[00:29:35] verse so that nobody can touch it. So that even somebody does like, you know, here, you know,

[00:29:39] like with Drake now, everybody's lining up his, you know, lyrics that he's jacked over time and stuff like that.

[00:29:44] Right. Which I'm not, I'm not against people using references, but it's just about how much you use

[00:29:48] references. It's like, it's like the Jay-Z Biggie debate of, you know,

[00:29:53] yeah, I'm much as homage to take somebody's, you know, take somebody's, you know, one line,

[00:29:58] what if you're doing that a hundred times and you're, you know, fair enough, Drake kind of overdue

[00:30:03] does it. So I'm not a, but yeah, so you'd be able to, you know, repository where people that can

[00:30:09] actually protect artists, you know, because like, listen, my A, she had M, I, M, I, M, I, A, A,

[00:30:15] then Rihanna did Ella, Ella, Ella, A, A. And if you, if you just see their lyrics written down,

[00:30:22] it looks kind of similar, but it's, but you don't realize that the pattern is exactly the same.

[00:30:26] You know, the work were a little bit different. So if you actually looked them on with using their

[00:30:31] inscription with the audio, and I'm going to do that in the future, but I think I'm going to go

[00:30:33] top down first, and maybe just start with Kendrick and it's E, Ella, A, and M, I, A, A, A,

[00:30:40] you, and you line them up and say, oh, look, it's exactly the same Rihanna totally stole, you know,

[00:30:44] that flow, like, A's line. And you're, you're, you're, you're transcribed and flow in a way,

[00:30:49] like that's, you know, you can actually transcribe the actual flow because right,

[00:30:53] well, you can't do that with, with, with, you know, we'll see the lyrics, and that's just like

[00:30:57] having the parts of a computer is like, yeah, it's a computer, but how do you put it together?

[00:31:01] How does it, which, you know, how long is that word? And you say, you know, with, you know,

[00:31:06] some of the, I don't know, some of the surface level criticisms or the peaks, say, I'm like,

[00:31:10] I don't understand Kendrick, you know, you don't grasp sometimes the complexity of what he's doing.

[00:31:15] So many people know you hear it like to see it again. This is another way that you can actually

[00:31:19] visually represent something to see the complexity of it in a new way. So I'm all for it. I think

[00:31:25] it's fascinating stuff. You know, I think anything we do to try to, you know, obviously, like you said,

[00:31:29] bring hip-hop to a higher level, which she's the double-exels tagline and I wish it wasn't because

[00:31:34] I want to use it all the time, but I digress what's happening next for you, obviously,

[00:31:39] give a little bit of a hint. And of course, where could people see this stuff and just follow up with

[00:31:44] you about, you know, getting instruction or just, you know, adding to the, adding to the literature,

[00:31:48] as they say in academia, what's next for you and where could people find it?

[00:31:51] Yeah, so I'll switch the order of those of, uh, you can go to ttm.nnget to find everything I'm doing.

[00:31:58] So you go to ttm.nnget and with next is actually, uh, I've got a two year

[00:32:03] biennio about, I'll call the ttm world cup. I'm doing that again this year.

[00:32:08] The past 10 years, the past really the past 20 years of my practice.

[00:32:12] Actually, I could say, practice, I won't say practice. So I feel like practice is,

[00:32:15] it's not serious if you're practicing, you're not really serious. Okay. You know,

[00:32:19] I know what you mean in the term of like, like, the fun work,

[00:32:23] you know, of my legacy, whatever, everything was a lot, it was theoretical. So, you know,

[00:32:28] everything was on paper, I was getting everybody stuff for free. So this next decade, next 50

[00:32:33] decades, I'm going to be making physical things. So, you know, physical books, physical technologies,

[00:32:39] like I've got this BPM contractor right here. I got a BPM contractor where you can, you know,

[00:32:44] put the protractor on the turntable and figure out the BPM just using the protractor, just

[00:32:49] figuring out the distance of a quarter note. Right. You know, you can figure out the

[00:32:54] little bit of a record, you know, just through that. And from the no skip technology that DJ Swamp

[00:33:00] pioneered, you can figure out, you know, the actual speed. But yeah. So just physical products.

[00:33:06] Like that books, yeah. I'll geese off, where's things like that and also, you know, just,

[00:33:13] you know, a lot more transcriptions, a lot more lyrical stuff because, you know, I've done the TTM stuff

[00:33:18] so much in the past 20 years. I want to be focusing a lot more on the rap element. So with my app,

[00:33:23] I'll send you a copy of the app already had the TTM app out now. It's 100 different modular

[00:33:27] techniques that you can not take and transcribe and compose. But I'm going to release the rap

[00:33:32] version of it, whereas 100 different rap patterns that you can actually flip. But the thing is,

[00:33:38] we're wrapped. There's only like maybe 15 20 patterns that people really use. You know,

[00:33:43] there's actually more turntable as patterns than rap patterns just because records can go backwards

[00:33:47] and do all types of crazy stuff at the mouth. You do. You know, you can kind of emulate some of the

[00:33:52] things. And I think the future of rap patterns, like, you know, because right now everybody's on the

[00:33:57] future like, Dr. And look, look, look, look, look, look, look, look, look, look, look, look, look, look, yeah,

[00:34:01] we're all these full patterns that, you know, tech nine mastered a lot of these patterns in the late 90s

[00:34:05] and freestyle fellowship and all these people have been been doing these patterns. But there's still

[00:34:09] a whole unexplored world of rap patterns that haven't been done that if you look at these patterns

[00:34:14] in the scratch matrix, you know, where's like, this is, let's say there's a pattern, this TTM

[00:34:19] Sheen pattern. I wrap as well. A TTM Sheen pattern goes, what a what a the the the what a the the and that's

[00:34:24] kind of like the you know, some of the a lot of patterns that twist it was doing and stuff back in the day.

[00:34:30] But there's just, you know, there's so many cross referencing where, you know, turntable is get influenced by

[00:34:34] the rappers, but I think the future is that the rappers are going to be a lot more, you know, they're going to be like,

[00:34:39] wait, every, all these patterns are played out, you know, we've got to find some new patterns and all what are these

[00:34:44] guys do it, you know, I think people are going to start combations from tables and to find the new patterns.

[00:34:48] That's no, that's very interesting. And I think the turntable is I would imagine the turntableist

[00:34:53] community is happy that these conversations are happening somewhere, you know, because their

[00:34:58] always, you know, you know, have the other elements feel they don't get the shine that they deserve.

[00:35:01] So I'm glad we got to talk about it. I'm always, you know, intrigued by turntableism as an art,

[00:35:06] turntableism as a science. And that's what I think, you know, this kind of bridges those worlds in a really

[00:35:10] fascinating way. So thanks for finally breaking it down to me, my friend. And yeah, of course.

[00:35:15] And we're in the, we're in the A generally speaking, together. So after we have to link up in real life,

[00:35:20] if you have any events or anything locally, let me know when I'll come through.

[00:35:23] We're a word. All right. All right. Thanks again, my friend. And we'll talk soon.

[00:35:28] Okay. Peace. All right. Peace.

[00:35:31] Once again, thanks for listening to another episode of Hip Hop, can save America.

[00:35:34] A.K.A. The world's most important Hip Hop podcast. My name is Mandy Faces. You can find out more about the

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[00:36:00] Filled with stories of Hip Hop innovation, inspiration, and in general, Hip Hop news that isn't about

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[00:36:10] Be sure to check out her dope initiatives, Hip Hop hacks, and the mixed-hate museum. We'll be back soon

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[00:36:25] to you in yours.