{"id":48956,"date":"2020-12-23T10:26:20","date_gmt":"2020-12-23T15:26:20","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=48956"},"modified":"2021-05-18T14:46:39","modified_gmt":"2021-05-18T19:46:39","slug":"songs-that-changed-music-herbie-hancock-rockit","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/songs-that-changed-music-herbie-hancock-rockit\/","title":{"rendered":"Songs that Changed Music: Herbie Hancock &#8211; Rockit"},"content":{"rendered":"<div id=\"produ-2296485326\" class=\"produ-leaderboard-placement produ-entity-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-9615536868356-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-9615536868356-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-9615536868356-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-9615536868356-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-9615536868356-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]<strong>Written by Caitlin Vaughn Carlos\u00a0<\/strong><\/p>\n<p><em><span style=\"font-weight: 400;\">Embracing the Future with Herbie Hancock\u2019s \u201cRockit\u201d\u00a0<\/span><\/em><\/p>\n<p><span style=\"font-weight: 400;\">As an 11 year old, child prodigy, playing the first movement of Mozart\u2019s Piano Concerto No.5 with the Chicago Symphony Orchestra, young Herbie Hancock could never have imagined the transformative and expansive music career that lay ahead. However, in the past 60 years, Hancock has proven to be one of the most innovative and visionary musicians of the age. \u201c<\/span><span style=\"font-weight: 400;\">I do what I want to do. I&#8217;m interested in people, I&#8217;m interested in music, I&#8217;m interested in <\/span><i><span style=\"font-weight: 400;\">learning <\/span><\/i><span style=\"font-weight: 400;\">about music and learning about myself,\u201d Hancock told <\/span><i><span style=\"font-weight: 400;\">NME <\/span><\/i><span style=\"font-weight: 400;\">in 1983. His musical curiosity has led him through classical music, jazz, electronic music, rock, funk, disco and hip-hop.\u00a0 His 1983 hit single, \u201cRockit\u201d not only earned him a Grammy for Best R&amp;B Instrumental, but has been cited as one of the most influential tracks in bringing DJ scratching into mainstream attention.\u00a0 <\/span><\/p>\n<p><span style=\"font-weight: 400;\">As a young musician, Hancock came of age under the guidance and mentorship of Donald Byrd and the legendary Miles Davis. In his memoir, Hancock credits Davis for teaching him how to take chances and explore new territories: \u201cWe had all learned &#8211; from Miles himself &#8211; that the secret is to keep moving forward, never look back. There are always new avenues to explore and new mountains to climb\u2026\u201d Indeed, like his mentor, Hancock would spend the next decades traversing new musical territories and fusions, and experimenting with innovative technologies and practices. <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">The spirit of exploration and imagination that Davis had encouraged him to embrace would characterize the years after Hancock left the Miles Davis Quintet in 1968. Throughout the seventies, he would experiment with fusions of jazz, disco, pop and funk, and embrace African and Indian musical influences alongside electronic devices and instruments.\u00a0 His 1973 <\/span><i><span style=\"font-weight: 400;\">Head Hunters <\/span><\/i><span style=\"font-weight: 400;\">combined elements of jazz with funk, and soul and became the first jazz album to go Platinum. <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">In 1982, Hancock was listening to a tape of music a friend had made him of some of recently released records. It was on this tape when he first heard Malcolm McClaren\u2019s \u201cBuffalo Gals\u201d (a track that McClaren had recorded in response to first hearing scratching in New York). Hancock began seeking out other scratching records, immediately inspired by the technique. He explained: \u201cI heard a looseness and a mixture of different sounds that contributed to the rhythms. Something only appeared maybe once or twice, things that didn&#8217;t have a real obvious structure. There&#8217;s structure in general, and then there are other things which are more like happenings of the moment. And I like that kind of freedom, that use of sound.\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Hancock wrote \u201cRockit\u201d in collaboration with Bill Laswell, Michael Beinhorn. At the same time that Hancock had discovered Mclaren\u2019s single, Laswell and Beinhorn had put together a series of rhythm tracks for him to consider for his next record, including the scratch track by Grandmixer DXT (D. St. at the time) that would become the basis of \u201cRockit.\u201d\u00a0 Laswell recalled that all three were intent on placing scratching, not as a sonic novelty, but truly as the centerpiece of the track telling <\/span><i><span style=\"font-weight: 400;\">Ebony <\/span><\/i><span style=\"font-weight: 400;\">in 2013: \u201cWorking on &#8216;Rockit,&#8217; we knew we wanted to use the turntable as the lead instrument.\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">Before bringing it to Los Angeles for Hancock to record his part, Laswell and Beinhorn brought in DXT to scratch over what was basically a rhythm track. This gave him the freedom to really think of his part as a soloist &#8211; as the lead role in the piece. He explained: \u201c<\/span><span style=\"font-weight: 400;\">That\u2019s the first record with a musical style of scratching. That\u2019s the first time a turntable was used as a soloist instrument in an ensemble, you know what I\u2019m sayin\u2019?\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">At Hancock\u2019s home studio in Los Angeles, they recorded Hancock\u2019s contribution using three different synthesizers and layered in an Oberheim DMX drum machine. Then, they headed over to Eldorado Studios in Hollywood for DXT to record his final turntable sounds alongside Grandmaster Caz, Mr. C and Boo Ski.\u00a0 <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">According to Laswell, the song came together very quickly. It wasn\u2019t until an impromptu stop on the way to the airport that they began to realize that they had a hit on their hands. He told <\/span><i><span style=\"font-weight: 400;\">The Quietus <\/span><\/i><span style=\"font-weight: 400;\">in 2009:\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cThe whole thing didn\u2019t take very long. We didn\u2019t really know what we\u2019d done. We stopped at a store that sold a lot of speakers on the way to the airport because we wanted to kill some time. The guy went to put on a rock record and we said \u2018No we don\u2019t listen to that kind of stuff.\u2019 We had a cassette of the rough mix we\u2019d finished so we said \u2018Play this instead.\u2019 We played it and afterwards we turned round and there was just about 50 kids looking at the speakers, saying \u2018What the fuck was that?!\u2019 &#8230;I think there was [Grandmaster] Caz from the Cold Crush Brothers and D.ST and we all just looked at each other and everyone was \u2018Oh shit! I think we might have something.\u2019\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cRockit\u201d was released as a single in June, 1983 and included on Hancock\u2019s album <\/span><i><span style=\"font-weight: 400;\">Future Shock, <\/span><\/i><span style=\"font-weight: 400;\">which came out two months later. The album\u2019s title comes from a Curtis Mayfield song that Hancock had covered on the album, which in turn drew its inspiration from the title of futurist Alvin Toeffler\u2019s 1970 best seller. In the book, Toeffler coins the term \u201cfuture shock\u201d to describe the perception of too rapid change in too short a period of time &#8211; a critique that staunch purists had laid on Hancock\u2019s own musical evolution and genre-crossing tendencies in the decades leading up to \u201cRockit\u201d. <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">However, in embracing the innovations of hip-hop and scratching, and fusing those with his own career and legacy as a jazz icon &#8211; Hancock offered that, perhaps, the anecdote to such experiences of \u201cfuture shock\u201d might just be the <\/span><i><span style=\"font-weight: 400;\">future<\/span><\/i><span style=\"font-weight: 400;\">.\u00a0 \u201cRockit\u201d captures the exhilaration and energy of the future of music. He saw in scratching and hip-hop the same freedom and possibility that he had always sought in his experiences with jazz, and he shared it with his audience. DXT referred to \u201cRockit\u201d\u2019s legacy as <\/span><span style=\"font-weight: 400;\">\u201ca bridge between young and old. It showed that new technology and new ideas can coexist with the old.\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">When it was released, \u201cRockit\u201d peaked at number 1 on the US Billboard Hot Dance Club Play charts and number 8 on the UK singles charts. It won a Grammy and the song\u2019s music video brought home five MTV Video Music Awards. However, perhaps its most important legacy has been bringing hip-hop and scratching to mainstream audiences. Hip-hop dancer Crazy Legs (Rock Steady Crew) posits: \u201cThe fact that an artist of Herbie Hancock\u2019s stature embraced and reached out to the hip-hop community and brought it into his world, I think that was a nice shot in the arm for hip-hop.\u201d Musicologists Mark Katz and David Vanderhamm credit Hancock and DXT\u2019s performance at the 1983 Grammys as the inspiration for the next generation of DJs: <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">\u201cIndeed many of the great turntablists of [DJ] Qbert\u2019s generation only became DJs after seeing the pioneering DJ Grandmixer D.ST scratch a record in the televised performance of Herbie Hancock\u2019s \u201cRockit\u201d on the 1983 Grammy Awards broadcast. Many had heard the sound of scratching but they knew little about how it was created, and the practice was rare enough that few people had seen it demonstrated in person.\u201d <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">With \u201cRockit\u201d Herbie Hancock introduced hip-hop and scratching to the larger music community and audiences around the world. As Miles Davis had done before him, Hancock validated the future of music as an exhilarating journey to be welcomed and celebrated, encouraging audiences and generations of musicians to seek out innovation and embrace \u201cfuture shock\u201d<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGNTNnWksxaHBfLXMlMjIlMjBmcmFtZWJvcmRlciUzRCUyMjAlMjIlMjBhbGxvdyUzRCUyMmFjY2VsZXJvbWV0ZXIlM0IlMjBhdXRvcGxheSUzQiUyMGNsaXBib2FyZC13cml0ZSUzQiUyMGVuY3J5cHRlZC1tZWRpYSUzQiUyMGd5cm9zY29wZSUzQiUyMHBpY3R1cmUtaW4tcGljdHVyZSUyMiUyMGFsbG93ZnVsbHNjcmVlbiUzRSUzQyUyRmlmcmFtZSUzRQ==[\/vc_raw_html][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text]Written by Caitlin Vaughn Carlos\u00a0 Embracing the Future with Herbie Hancock\u2019s \u201cRockit\u201d\u00a0 As an 11 year old, child prodigy, playing the first movement of Mozart\u2019s Piano Concerto No.5 with the Chicago Symphony Orchestra, young Herbie Hancock could never have imagined the transformative and expansive music career that lay ahead. However, in the past 60 years,&hellip;<\/p>\n","protected":false},"author":25,"featured_media":48957,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[11375],"tags":[],"class_list":["post-48956","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songs-that-changed-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Songs that Changed Music: Herbie Hancock - Rockit - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/songs-that-changed-music-herbie-hancock-rockit\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Songs that Changed Music: Herbie Hancock - Rockit - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text]Written by Caitlin Vaughn Carlos\u00a0 Embracing the Future with Herbie Hancock\u2019s \u201cRockit\u201d\u00a0 As an 11 year old, child prodigy, playing the first movement of Mozart\u2019s Piano Concerto No.5 with the Chicago Symphony Orchestra, young Herbie Hancock could never have imagined the transformative and expansive music career that lay ahead. 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