How did your crew The Oakland Faders get together, and what does it mean to be in a DJ crew?
Oakland Faders is a term that a lot of people who don't like the Oakland Raiders call [the team]. We kind of took that as a clever pun; the crossfader on a mixer is the idea behind it. I don't know a single person in the crew that's actually a football fan. We're not sports guys. We're record nerds.
Initially, the crew was started by myself and another gentleman named DJ Spair. We've known each other for sixteen years now. We were in a crew together from '94 or '95, till roughly 2000. We switched things up a little bit and started the Faders. There are eight of us now. When you're younger and in a DJ crew, it's usually more a camaraderie thing because you guys have a lot in common like DJing and music. Now the Faders are more of a legitimate collective in terms of where we stand professionally. We're a business at this stage. The eight of us all dabble in different aspects of the industry, from production to engineering to DJing to managing business.
What's it like DJing around the world in places such as Iceland, Australia, Singapore, and Malaysia?
There are few things I enjoy more than traveling and doing what I love. Anybody with that privilege at this stage is very fortunate. It's a big plus to go do what you love in a different scene, for different people, and have them appreciate and dig what you do and what you've built. I'm very happy about being able to do that.
Do you incorporate the local top hits of the countries you spin in?
At a lot of the gigs I get booked for, people come to see what I'm known for. When you do standard club stuff, you have to do a bit of research in terms of what's hot in that area. I go online and see what's being played on commercial stations. Music is popular [in certain cities and areas] for distinct reasons, especially in the states. If an out of town DJ plays [Bay Area classics] in a Bay Area club, people will absolutely love him for that. Props if you know music of the region.
Which genres do you borrow from most?
I tend to play a lot of James Brown, The Meters, Parliament Funkadelic - classic funk and soul outfits. People know me for playing headier sample based music and playing it back to back with hip hop. It's a style you don't hear much anymore, because hip hop music hasn't really been much of a sampling art form in the last 10, 15 years. At this stage, people appreciate it if you play old school. It's for people that are really dorky about music, or people who are truly open minded. Some people want to hear what they know, but often people are interested in what I can teach them.
Are there particular venues in the Bay Area that you've found are into that?
There's not a specific venue, but there is a scene. In the scene I was in, people would go to a gig and truly trust the DJ to entertain them and teach them something. Nowadays, DJs are generally regarded as someone who is there to strictly play known music, or the music the people in the club want to hear. That didn't always used to be the case. There used to be more trust between the crowd and DJ. You would go see a DJ and [trust] that he knew what he was doing and would entertain properly.
It's hard for [people today] to just sit back and enjoy themselves. For a DJ like me, it's upsetting at times that people can't just enjoy themselves, or the only way [they can] is if they recognize the music. In the scene here in the Bay Area, you can go and see ... people who are music connoisseurs themselves. It's not usually a Top 40 or bottle service club where you hear a bunch of Lady Gaga. The scene I belong to is more about people understanding and appreciating the craft of DJing.
On your website, you posted a letter that was promoting a service for clubgoers to text song requests to the DJ. What are your thoughts on technology like this?
When I got that letter, my first reaction was 'This is terrible; we don't want to be bothered when we're DJing.' [DJs] take the time to find out what music works and what's popular. They know how to play certain music at a certain time of night. Most DJs in the Bay Area don't last too long if they don't understand that. It's really unfortunate that [most crowds] treat DJs strictly like jukeboxes. They don't have faith and trust in the fact they'll do a great job, and eventually play the song that they really want to hear. [They have the opinion that] a DJ doesn't know what he's doing because he doesn't know a bunch of the stuff that they know. That device is all about putting the control of the music into the crowd, and taking every single aspect of a DJ's input and creativity and know-how completely out of the picture. I play a little bit of what people might want to hear, and what I think people should hear. This isn't an ego thing; I just have a lot of experience and know a lot about music because I've sat there and taken a lot of time to educate myself on it. I would hope people at this stage would be open and willing to appreciate that. This person in front of you knows what he's doing. This type of technology is basically saying, "No, the crowd knows what they're doing."
It takes a lot of concentration to pull off doing everything technically correct and making sure it sounds good. You cannot find a DJ in the world who says they like taking requests from people all night. Most of the time the approach that the person has when they come and want to hear a request is offensive. They come at you like "You don't know what you're doing." It throws you off and makes you feel shitty that someone would think you're not doing a good job. You don't do that to regular people in society. A DJ is a working person when they're up there doing their thing. You wouldn't go to a chef and be like, "That's not right, do it this way," unless you're working in the kitchen, too. I wouldn't walk up to a traffic cop and be like, "You probably shouldn't do that."