Afrika Bambaataa presents a neighborhood in the Bronx which used to be called "the house of hip-hop" where violence and gangs were common.

After a trip to Africa, he created what is known as the Universal Zulu Nation, a group of socially and politically aware rappers, B-boys, graffiti artists and other people involved in hip-hop culture.

Artists such as DJ Jazzy Jay, Grand Mixer DXT, Almighty K.G., Kevie Kev, Dot A Rock, and Steinski explain the beginning of hip-hop and its evolution since the 1970s.

In the second chapter, Mix Master Mike shares his first experience with scratch through the 1984 Grammy Awards with Herbie Hancock & Grand Mixer DXT.

An interview with John Carluccio presents the method used to communicate compositions by transcribing scratching onto paper.

DJ Shadow leads the camera through a basement so stuffed with records that he can barely walk through, calling it "my little nirvana".

The fifth chapter of the film explores the art of producing beats and examines the future of the DJ industry.

DJ Swamp from The Allies explains some of the beats that he has put together and describes how many artists have begun playing vinyls that are made specifically for turntablist and battle DJs.

The final chapter of the film reviews the goals and aspirations of some of the most recognized DJs in the industry and what they hope to achieve via the distribution of their music.

[3] Interviews include: Doug Pray didn’t know much about hip-hop DJs before making Scratch.

[5] After its release, the film inspired two world tours of top DJs, and a performance movie named Scratch: All the way live (also directed by Doug Pray and produced by Brad Blondheim).

Qbert, a leading hip-hop musician from the San Francisco Bay Area, manipulate two turntables with one hand and a sound mixer known as a fader with the other to create a sizzling polyrhythmic landscape of sound effects is not unlike watching the fingers of a great jazz or concert pianist fly across the keyboard.

"[8] Ain't It Cool News listed it as one of the Top 5 Films of the Year and wrote, "Scratch is like having a camera there when Robert Johnson went down to the crossroads.