March 23, 2004
Interview: DJ Quixotic
In the massive sea of talented DJ's that currently exist in the turntablist scene around the world, it is difficult to make a name and identity for yourself. It takes someone who is willing to go against the grain to make a mark. Enter DJ Quixotic, a member of the world-renowned Trooperz crew. Between parties, battles, and his most recent CD "The Demonstration" Quixotic has successfully earned a reputation as a skilled party rocker, battle DJ, and sample-based musician. He's competed in many well respected battles, and can be seen on the DMC USA 2001 Finals as well as the Platter Pirates Pirate Video 3. However, the thing that makes Quixotic stick out has to do with more than his impressive credentials. Quixotic is of a growing movement of DJ's pushing the limits and forcing people to respect DJ's not as just "a person who plays records", but instead as true musicians. His new CD "The Demonstation" shows his ability to use other peoples records to make an intricate and complicated sonic journey. The majority of the songs are in some way linked, either in concept, lyrics, or musical style. The 60+ track mix flows together seamlessly and Quixotic's broad musical tastes and influences make "The Demonstration" a truly impressive musical melting pot. The CD even features self-produced sample-based music made by Quixotic himself.
What Quixotic is doing for the turntablist community is important on many levels. Sample based music needs talented leaders who are able to show why recreating other peoples' music is an art, and why it's not going to stop anytime soon. Just as when a rock band covers a classic, DJ's and producers have the ability to take someone else's art and transform it into something completely new and fresh. People like Quixotic, who is not only a DJ but the member of a production duo/band with partner Defect, will hopefully have enough crossover appeal for DJ's to gain the respect they've deserved for so long. I recently caught up to Quix, and had the opportunity to speak with him about many topics, from the recent success of his crewmates, to trying to get signed, to the meticulous process of making a mix CD. So sit back, take a minute, and look at what Quixotic has to say.
QUIX: Nope. My view on the whole thing is that since I'm a DJ I'm actually doing them a favor. The people that buy my CD get to hear music they wouldn't normally listen to and since there is a track listing they get to find out who or what they are listening to. Besides I buy all their vinyl so I'm supporting the artists in that way.
GINO: For sure. Can you give us a little background on yourself and your crew?
QUIX: My crew, The Trooperz, were formed in 98 by me, Geometrix and Sneek. We then recruited Enferno later that year then Oz the following year. We've been battling since 98 and in that time I've been a national finalist for the DMC [stands for Disco Mixing Club an international DJing competition], ITF [International Turntablist Federation], and Guitar Center competitions. Enferno has been a national champ for DMC and runner up in the DMC Worlds. We even battled the Allies as a team in 2000 DMC teams I believe. And we've performed everywhere from Montreal to Miami to LA to London. As for me, I started in 98, formed the crew with Geo and Sneek, and made my accomplishments in that time (DMC, ITF, GC). Now I'm getting ready for the DMC 2004 competition. I still want a national title hehe. I'm also working on an album with a production partner, hoping to get signed as an artist and shit.
GINO: Can you speak a little on how what the difference between creative sampling and copying. A lot of the public have a skewed view and feel that turntablists and DJ's only "copy" other people's music. Explain how what DJ's do is different.
QUIX: Well I mean when it comes to performance, its different then production. In performing, you're taking a record (someone else's music) and turning it into your own interpretation of it, kinda like what jazz musicians do. With your hands you're remixing it, every kick snare and high hat. In the studio when you sample, your doing the same thing, taking a bit of someone else's music and making it sound your own way by flippin it in the studio whether its through Pro Tools or the MPC or your hands on the turntable. People get scared of things they don't understand and that's why you get people making statements like the DJ is copying or breaking laws by doing what we do.
GINO: True indeed. Do you feel as a musician that samples other works, it is far more difficult to get a record deal or contract than a traditional musician such as a guitar player? Are labels afraid to sign someone like yourself because of all the sample clearances?
QUIX: Man, I don't know. I hope not...cause that's a scary thought...for me at least. I mean what I see is, if the sample is obvious, yes its going to be fucking hard, but if you really go digging then it wont be so hard. If the song you created with an obvious sample is so dope and the record label smells cash from it, then they'll put it out, it all comes down to the buck. I mean look at Puff Daddy. With the music I'm working on, we try and really combine samples with live instruments and synths. Create a new sound. i don't think we will have too many problems, except with one track where I sampled a classic Journey riff, but the track sounds completely different.
GINO: Ha, I love Journey man, they're records are fun to mess with.
QUIX: Yeah, I have a live album of theirs...they had fuckin great energy.
GINO: So who are some of your big musical inspirations, both DJs and otherwise.
QUIX: Hmmm lemme think...Michael Jackson, Marvin Gaye, Isaac Hayes, Ray Charles, and anything soul from back in the 60s and 70s. I found a stash of old soul records in my basement when I was like 13, and used to play my harmonica along with it for years haha! As far as DJ's, Craze definitely, Swamp, Q-Bert, Z Trip and Xmen.
GINO: Yeah, Z-Trip is a huge inspiration to me too.
QUIX: Yeah, living here in LA I get to see him live a lot now. I love it.
GINO: Do you think the fact that the law hasn't been kind to DJ's as far as sampling is concerned has kept the art pure? And, do you think the laws will ever be more DJ friendly as far as sampling goes?
QUIX: I would think so. I mean, it's very hard to get a clearance on a whole record the DJ is using for like TV or what not. But also I don't see why people can't treat what we do on the turntables the same way they treat a band covering another bands songs for an album, you know what I mean? That's what we do when we do routines, we basically cover that persons song, we just happen to be using a record to do it.
GINO: What do you feel about the influence of technology on djing, in the long run is it positive or negative?
QUIX: Well, I would take it as positive as long as it's used to its fullest potential. For battling and shit, keep it as it is, shouldn't fix what aint broke you know? Stay with two turntables and a mixer. For performing the sky's the limit. The use of foot samplers, Pioneer CDJ's (which I use), I mean all that shit used right makes for a great show.
GINO: Do you think the foot pedal sampling composition stuff is the next step for DJing? Is that one of the futures of the art, or do you think it will eventually fade out?
QUIX: Well, for performing yes. I know we are going to utilize a foot pedal for when I'm done with the EP with my production partner Defect. When we do live shows were going to utilize lots of shit. I'm going to be on the mic as well as on the turntables. So all that stuff comes in handy for performing.
GINO: Really, you rhyme? Damn.
QUIX: Well, I'm writing lyrics for some songs we are doing but I would say I'm more in the side of singing then rhyming haha. Still in the process of finalizing the tracks, laying down temporary lyrics for reference. We are really combining punk into hip-hop.
GINO: Oh wow, do you want to speak a little on the similarities between the two? They've always kinda been connected on some weird level.
QUIX: What with like rock and punk and hiphop? Shit its all the same to me...cause...they all carry a hook, they all have angst, and they all speak to the heart and soul. Yeah, with our track, it's definitely punk. Right now we have titled it Sakuraba, after a great Japanese fighter. Haha, I don't know why. Maybe cause its an angry track just taking out frustrations.
GINO: Word, sounds tight. Do you want to talk a little bit about the current state of the music industry.
QUIX: Man, it's crazy. You got the internet kinda empowering some people with the freedom of downloading and getting their music out there but at the same time its creating a vacuum. Cause like how is the industry going to survive with constantly losing money? I think its going to drive the industry into having a wake up call. Like them reducing CD prices is a start. And they need to start embracing the Internet and not trying to shut it down. I know we are going to start droppin mad songs of our own into the Internet, mainly for exposure. But the industry itself is a weird situation...cause say we get signed tomorrow...people might think wow you're set...nah. Like what happens is they give you a check for signing, but what they don't tell you is that all the money the label will spend on advertising, distribution and whatever. That all comes out of you...and whatever is left you take home. Also, when you're signed, they can drop u at any moment but you cant leave them or you'll get sued. Crazy shit! Scary shit!
GINO: Yeah, I know man, that's what our site is all about. Looking out for ya'll, the artists.
QUIX: Word, its good you're bringing that out there so people aren't so naive when they go into trying to be signed. They need to be educated. A lot of DJ's, don't know how to play the game. Like a lot of DJ's don't know how it is. Like I've learned man, it was a wake up call, in my career as a DJ, especially going to other cities and moving to LA. If you trying to make a living off of anything artistic, DJing, film whatever...you gotta know how to play the game. And 90% of the game is knowing the right people and promoting yourself. Like winning battles is a step forward but you cant leave it at that. I don't know how many people I've met that I'll keep their card, send them my demo package, just to make a connection. It's crazy, every time I do a show I come with cards and CDs. Whenever I just go out clubbing if I meet someone, you gotta know how to talk to them, when to call them, its all a carefully planned ballet. That's a side of the business people need to understand, you can be the shit but you also gotta be on you're game, know what to do how to talk to people. And you gotta be patient and be willing to sacrifice to accomplish you're shit. Its hard out ther but its also hella fun
GINO: For a young inexperienced cat like myself, what do you think is the best way to get heard?
QUIX: Practice practice. And really think about what you're trying to do with it. But mostly practice, I can't emphasize that enough. I got calluses on my fingers from scratching and shit so much. After you practice then just focus on getting yourself out there. But first do battles, do gigs for free. Spin and shit. Then you'll be able to figure out what you wanna do in this. Talk to people, make connects, and make a CD that you can give people so you ca be heard.
GINO: I think DJ mix CDs have evolved to incredible heights. They're all like the same level as an actual album these days, with all the remixing, blending, trick mixing and multitracking.
QUIX: Yea and its dope. I mean with us, it was like I got tired of hearing wack ass mix CDs, people just throwing in songs randomly, mixing them, horrible sound quality, no art to it, and selling it for 10 bucks. I was like fuck that.
GINO: What mixtapes in your eyes helped changed the game or helped inspire you?
QUIX: DJ Babu's mixtape Comprehension made me wanna start makin CDs. Also Cash Money's shit. Qbert's tape Pumpkin Squeeze and also Z-Trip live.
GINO: Oh yeah, pumpkin squeeze is huge.
QUIX: Yea man I used to practice dancin to that shit, B-Boyin. We would just practice to that shit all night
GINO: Do you want to talk about your mix a little bit? How long did it take to make?
QUIX: It took four months to do.
GINO: What's on it, and what went into making it.
QUIX: Umm well...I wanted to make a CD that kinda like was me, was like what Quixotic was about...you know? So I began planning it and shit like 4 or 5 months ago. I took some records with me when I was home in DC for a few weeks over the summer and planned shit out. And this CD is actually more of a party oriented CD. So you get that vibe. I did a bunch of the mixes that I do live in my sets, like the Wanna Be Startin Somethin with Gossip Folks and the 50 Cent accapella into ADIDAS into Sexual Healing and shit. I just basically made a CD that was me at a party and shit. I held back a lot of material for my next CD which is going to be even more experimental with like more original tracks and shit and more obscure music. With this CD I also wanted to create a live feel to it. Like the CD was a club and when you put it in to you're deck you're in the door. But not a jiggy club, but like a good ol high school gym turned into a party. So we did some recording with an MC pretending to be at a party. We did it with this actor at my school. Also I had Mr Choc of the Beat Junkies do an intro for me, then it goes into an original track I did that's featured in the next "Return of the DJ." Even with the design of the cover, I wanted it to look like an old soul record.
GINO: That's awesome man, I love mix CD's that put the fun back into making mix CD's. They're not just some super technical stuff. I think people forget party rocking and mixing are equally important.
QUIX: Yeah exactly. And like, my crews whole philosophy has always been, you know, its like you cant just mix one song to the next. They gotta make sense. You gotta create an experience. Just cause they go on beat doesn't mean the mix will sound right. Most of the time on this CD was spent just planning it. Which I'm now doing with my next one.
GINO: Can you tell the readers how a mix CD works that way? Do you practice the CD layout a lot, or do you just go at it and record, and then try it again if it's not what you wanted.
QUIX: Well...like what I do is I just sit down and have tons of records I'm considering using. Usually I'll start with an intro. Then go from there. What kind of mood do I wanna start with, old school feel...rock? More electronic? Then usually from there I try to have something in common with each song mixed and they all transition into other genres. Like with my Wanna Be and Gossip Folks mix, the crowd always goes bananas on it. I drop the Missy beat underneath the ending part where he's just sayin "mama se mamasa mama kusa." It took a while to pick out a good record for that, and the way the Missy bass sounded when it dropped underneath Jackson's voice was ill. But, yea I usually try to have something in common with each song, they have to blend well. So after that, after the CD is all laid out, I usually plan some scratch breaks and ill include that. Everything is written down on paper before I record. And I practice it live over and over to tweak it out a bit. Then after I'm satisfied with the general mix I'll go in and record. In the recording stage is where I might decide to add in some trick mixing live, or a scratch break. After the whole CD is recorded I'll go in and listen to it, and maybe take out a song or 10 songs or a mix or redo it, which then involves me having to go in and re-record whole sections and mixes. I can't tell you how many version of this CD there were before I was like ok its done! I even had a sexual healing remix I did because I have the accapella to that song, but then decided last minute to cut it out. And I also had a clip of me battling live at some event, but I cut that out too. I might put it in the next one.
GINO: Can you tell people why you chose to end The Demonstration with the lyrics from Queen?
QUIX: Well, with my shows or performances, I usually like to have like heartfelt thing in there. There's nothin better than seeing a show that's energetic, but then flips it and suddenly its soft and touching...so on the CD its like a show. When it gets to the end its already sped up to "Bombs Over Baghdad", then out of the blue its like this soft melodic sound which is touching, but makes sense, almost like "you've gone thru hell, now its gonna be ok" kinda vibe. I used to have a routi
GINO: Yeah man, I love to have this talk, because people need to know, DJ's do their sets with purpose. Its not like "let me just toss on songs." Yall do this with really well thought out concepts. Well, talented DJ's do anyhow.
QUIX: Exactly.
GINO: Can you tell us a lil about the original song by you on the CD, Superbad. Tell the readers how you did that one.
QUIX: Yea, that's actually part of the song that's on the Return of the DJ, its in the middle of the song me and defect did. Well as you can tell it samples What I'd Say by Ray Charles. Now that's a song that I've loved since I was like 10. In VA listening to old records, I found in the basement. And like I used to always play the harmonica, so id always play along to that shit. So when I started getting into DJing I always wanted to use that record somehow. So when I was workin on the CD, I had it with me, and I tried it. First I sampled 4 bars and put the electro bet underneath and surprisingly it worked. So I finished the whole concept of the beat with the break of the bass and shit, then went in and made vocals using that Schooly D sample. Iit all just vibed well, had that classic down and dirty bar in New Orleans kinda feel to it.
GINO: I like how this CD comes off kinda like a mega-mix, but you let the songs "breath" a little bit. You don't rush between songs. You'll let certain ones play as long as you feel is warranted. Which is refreshing, its not like 20 seconds of every song.
QUIX: Yea, I chose certain songs that its like, they need to play, it just feels right. Others I do what I call chorus mixing or bridge mixing, where I mix it in at the chorus or bridge part of the song. Kinda like old school DJs did with break-beats, I do with current records. Its a good way to hype the crowd.
GINO: Is there anything you hear when you listen to the CD that you think needs work.
QUIX: Umm...I dunno, I worked hard on that for 4 months, let me think. I'd probably do the Rosa Parks mix the way I do it now at gigs. I go into the accappella chorus part of ATliens, and then the intro beat for Rosa kicks in underneath, and comes in right at the chorus. Very hype. The crowd loses their shit! Then at the harmonica break of Rosa Parks I go into Tennessee. Haha its OVER!!
GINO: Do you have anything else you'd like to speak on for the CD?
QUIX: Just if anyone wants to purchase my CD contact me at quix@trooperz.com or go to www.trooperz.com, the store there will be open soon. My group will be comin out with an EP in about a month or so. Were called The Phono-Sapiens. Our music is gettin on TV and commercials. Now were trying to get signed. Our EP will be available on the Trooperz site as well.
GINO: Alright man, thanks a lot, peace and respect.
QUIX: You too. Peace!!