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DJ Big John Stud

Desperado: Once Upon a Time in ... [scratch] Shadyside

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"I've played something like 30 to 35 states and four continents. I was doing stuff with DJ Hank D. back in the day, headlining with DJ Diesel Boy, who is a super well-known deejay. I know all the original DJs, whether hip hop or drum and bass or techno, all those guys were guys I grew up with. I knew the first guys they called turntablists around here, DJ Supa C., [scratch], Supa C., [scratch], Supa C. was in this era. But DJ Spade, [scratch], Spade, [scratch], Spuh, Spuh, Spade was one of the first turntablists around ... Deejays were the ones bringing everybody out. Deejays were the ones connected to everyone in the neighborhood. They were the ones whose friends would come out and throw money at the bar, but would get shit on by either the owner of the bar, getting $50 for the night when they made the bar like $4,000 ... "

 

 

 

"So it's either the deejay getting jerked by the restaurant- or bar-owner, or the deejay getting jerked by a promoter who was getting jerked by a restaurant- or bar-owner/ So it's either the deejay getting jerked by the restaurant- or bar-owner, or the deejay getting jerked by a promoter who was getting jerked by a restaurant- or bar-owner..."

 

"Number one in our crew is DJ Nuke [scratch] Knocka, Hank D., DJ Detonate, DJ Sassan. Poochie La Fever, who's the man right now ... This is a very diverse spot. I don't know a spot more culturally diverse than this restaurant. Just this semester we've done parties with Asian groups, [scratch] groups, Latin groups, [scratch] Jewish [scratch] groups, [scratch] fraternities, [scratch] fraternities ... Sorta like our takeover -- a union for deejays, [scratch] a union for deejays, [scratch] a union for deejays, where we said we're not gonna get screwed by people anymore, we're gonna determine our own thing. We started the deejay union so we could charge our own door, us working the door. For instance, a few venues that we've done stuff at, we'll leave because the money's not right, but after we've built a crowd up. Then these [scratch] deejay crews will come in  -- it's cheating man, [scratch] it's cheating man, [scratch] it's cheating man, 'cause they step into something that was laid out on the table for them ... then they act like they built that. They didn't have to work for that. I don't think any deejay should ever be making less than $50 an hour."

 

"How much do they have to spend on records? How much did the busboy make that night, who didn't have to buy records? How much did the bartender make, when the bartender didn't bring anybody to the place?"

 

"[Cozumel manager] Cuba got a kid. I do his booking negotiations because he was getting jerked. People jerk artists, [scratch] people [scratch] jerk [scratch] artists."

 

"Mostly, deejaying is math, [scratch] more mathematics. I'm not a big artists' artist. I'm more of the businessman's side -- more math and hustle, but there's creativity in the [scratch] hustle [scratch] hustle, [scratch] hustle. ... There's people who resist a young, urban, minority crowd whether they're well-to-do or not. Occasionally, oc- [scratch] -cas- [scratch] -ion- [scratch] -ly, it will be a [scratch] party that's off the hook, but if it's a bunch of [scratch] people who get in a fight, it has nothing to do with the music, or the skin color or the neighborhood they come from. If it's [scratch] people fighting, then, of course, it's [scratch] music, [scratch] people from [scratch] neighborhood."

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