Vincent Cunningham

And one of the things they've realized is, you know, I think a lot of us thought that to be a hit, a song probably needed a catchy tune. I think what they realized is they got more and more interested in the textures and sounds that were coming out of these electronic equipments.

And one of the things they've realized is, you know, I think a lot of us thought that to be a hit, a song probably needed a catchy tune. I think what they realized is they got more and more interested in the textures and sounds that were coming out of these electronic equipments.

And one of the things they've realized is, you know, I think a lot of us thought that to be a hit, a song probably needed a catchy tune. I think what they realized is they got more and more interested in the textures and sounds that were coming out of these electronic equipments.

And they realized that you could have a rigid electronic beat, but somehow have enough happening that it wouldn't be boring and it wouldn't be predictable. Or if it was predictable, it would be predictable in a good way. But they were arguably the first. Well, you know, a lot of people were using this stuff, right? Like Sly Stone has one of the first drum machine hits, right, in 1971.

And they realized that you could have a rigid electronic beat, but somehow have enough happening that it wouldn't be boring and it wouldn't be predictable. Or if it was predictable, it would be predictable in a good way. But they were arguably the first. Well, you know, a lot of people were using this stuff, right? Like Sly Stone has one of the first drum machine hits, right, in 1971.

And they realized that you could have a rigid electronic beat, but somehow have enough happening that it wouldn't be boring and it wouldn't be predictable. Or if it was predictable, it would be predictable in a good way. But they were arguably the first. Well, you know, a lot of people were using this stuff, right? Like Sly Stone has one of the first drum machine hits, right, in 1971.

So, you know, people are using this electronic stuff, but they had a – there was something about their vision. And as with anything else, they put elements together in a way that was catchy. It's a funny word to use about a track like Numbers, but – Numbers comes back. Here's a way in which Numbers comes back. A trio from Florida called Anquette has a song called Shake It, Do the 61st.

So, you know, people are using this electronic stuff, but they had a – there was something about their vision. And as with anything else, they put elements together in a way that was catchy. It's a funny word to use about a track like Numbers, but – Numbers comes back. Here's a way in which Numbers comes back. A trio from Florida called Anquette has a song called Shake It, Do the 61st.

So, you know, people are using this electronic stuff, but they had a – there was something about their vision. And as with anything else, they put elements together in a way that was catchy. It's a funny word to use about a track like Numbers, but – Numbers comes back. Here's a way in which Numbers comes back. A trio from Florida called Anquette has a song called Shake It, Do the 61st.

And if you listen closely, you can hear those chirping, fluttering synthesizers in the background from Numbers. That's the group Anquette, yeah. So, I know we are a little bit digressive. I'd like to get extra digressive here for a moment, David.

And if you listen closely, you can hear those chirping, fluttering synthesizers in the background from Numbers. That's the group Anquette, yeah. So, I know we are a little bit digressive. I'd like to get extra digressive here for a moment, David.

And if you listen closely, you can hear those chirping, fluttering synthesizers in the background from Numbers. That's the group Anquette, yeah. So, I know we are a little bit digressive. I'd like to get extra digressive here for a moment, David.

The single is called Janet Reno, who at the time was, I believe, a U.S. attorney in Miami-Dade County. Oh, it was before she was in the Clinton administration. Yes, because she was a local figure. And the idea was that if you don't pay your child support, Janet Reno was going to come after you. I don't know if she owns an autographed copy of that single, but I hope she does.

The single is called Janet Reno, who at the time was, I believe, a U.S. attorney in Miami-Dade County. Oh, it was before she was in the Clinton administration. Yes, because she was a local figure. And the idea was that if you don't pay your child support, Janet Reno was going to come after you. I don't know if she owns an autographed copy of that single, but I hope she does.

The single is called Janet Reno, who at the time was, I believe, a U.S. attorney in Miami-Dade County. Oh, it was before she was in the Clinton administration. Yes, because she was a local figure. And the idea was that if you don't pay your child support, Janet Reno was going to come after you. I don't know if she owns an autographed copy of that single, but I hope she does.

Anyway, back to Kraftwerk. This one particular track, Numbers, kept getting recycled and sampled and sampled. You might recognize the robotic counting in this techno track. This is Mike Hitman Wilson's remix of Rock to the Beat by Reese, which is a name of the producer Kevin Saunderson, who was one of the Detroit producers who created techno. And so this is a fairly early techno track.

Anyway, back to Kraftwerk. This one particular track, Numbers, kept getting recycled and sampled and sampled. You might recognize the robotic counting in this techno track. This is Mike Hitman Wilson's remix of Rock to the Beat by Reese, which is a name of the producer Kevin Saunderson, who was one of the Detroit producers who created techno. And so this is a fairly early techno track.

Anyway, back to Kraftwerk. This one particular track, Numbers, kept getting recycled and sampled and sampled. You might recognize the robotic counting in this techno track. This is Mike Hitman Wilson's remix of Rock to the Beat by Reese, which is a name of the producer Kevin Saunderson, who was one of the Detroit producers who created techno. And so this is a fairly early techno track.

This is only a few years after the genre was born. And by this point, like, Kraftwerk is roots music. And for a techno producer, that's a way of paying tribute to, you know, the eight, by this point, eight years old German track that helped inspire them. Okay, one last Kraftwerk track, Computer Love, from that same 1981 album Computer World. It's kind of a love song about computers.

This is only a few years after the genre was born. And by this point, like, Kraftwerk is roots music. And for a techno producer, that's a way of paying tribute to, you know, the eight, by this point, eight years old German track that helped inspire them. Okay, one last Kraftwerk track, Computer Love, from that same 1981 album Computer World. It's kind of a love song about computers.