Stylewise Interview w/ Dj Cue
Frank Cuevas has been holding it down for years, one of the most diverse djs on the planet, not nessacarily on the cut, or on the juggle, or whatever "turntablist" terms are normally used to describe dopeness, but on a more mental level. It shows through his music, for example DMT, I dare someone to try to classify the genre. The closest I could come is by naming off the influences I hear in his music, but nothing I could call "this" or "that", and I think that's how he likes it. This guy has been through a lot, you can tell by his words, and a lot of you young DJs are in for a treat, because you should learn at least one thing, that you can take for your own good and maybe help you on your way to wherever you are headed. Not too many DJs will break it down like Cue, which is why this is a treat for all of you. Thanks Cue.


Check out part 2 where he elaborates on some highly interesting issues...

For all the cats who don't know, let everyone know who you are where you are from, how long you
been doing this shit, and who or what you represent.

DJ Cue from Daly City, Califuckyall. Been doing this shit bout 13 years, but doing the business
side of it like 10 years. I represent myself. I also am part of BPST. But I also represent with
anyone who is just down and not on some bullshit way of doing stuff. It aint all about being part
of a crew and having gay ass rules about practicing and being the way one person thinks you
should be. Fools like that need to go jack off on their faders so they can get their crab scratches
down. Really though, its all good to hella want to scratch but don't take it so seriously cuz you'll
lose the freshness aspect of it because you are too serious. There's more to the game than that.
Be more well rounded and you'll be opened up to a whole new world of shit. That's why I like all
types of shit now. I got my mind out of the fog and started listening to all types of shit besides
indie hip-hop and dj shit. Now I'll bump some jiggy shit, then some dirty south, then some bay
rider shit, then some b-boy shit, all on the same tape. If it sounds good, I'll give it a chance.
But then again my old ass is going deaf too.

Aight man, I have sat down with you numerous times, and each time we chop it up, man we be
talking real for sometimes hours, which is why I will say I am honored to interview you (online,
which is wack, but we can do one in the studio too though, can anyone say transmisssionnssss?).
We all know the scene has changed a bit since you came into this, from grandmaster flash to
westcoast early 90's late 80's reign, back to the east coast blend scene then to about the pre 90's
to mid 90's the bullet proof scratch hamsters and the rocksteady DJs basically changed the way
djing was. Right now it seems like no one (from battlemasters to compositional scratch DJs) are
really making a dominating mark on DJs these days, is that good or bad? Does this means it's
opening up stylwise, people becoming more comfortable with the music aspect of it? Where do
you see it heading now?

Ok that's a fucking crazy question, I don't get it but here goes in my mixed up response. The scene
definitely has changed. But the problem is that there are too many outlets for anyone to be dominant.
If one guy is the scratch king, then the next is the mix king, then the next guy is the beat juggler king
and so on. Most of the world doesn't give a fuck too figure out what the hell is going on anyway so
everyone is good. Only dj's know who is really talented and is worth a fuck. But it doesn't matter on
that issue either since none of us buy each others shit. We just listen then go buy the next record to
rock a party with. Its like back in the days I used to say Rectangle was hella wack for taking samples
of "Hamster Breaks" for his records, but in reality, he was just doing his thing and making dough off it.
Like I said most people don't know and usually most new jack DJ's bought his records so he got the
props and came up off them. I think he has even out sold Dirt Style. He's done something good for
himself and has turned in to some good things for others too. He did some tight shit for the Whoridas
and who knows how many kids he got into djing. He put out the bait and reeled in a boat load of fish.
Now he's doing bigger and better things. Like many after him, they did the same and added to the catch.
But now a days its harder to do them kind of things. Everyone wants to make a fuckin break record
or a mix tape and join a crew cuz its the "THING TO DO". It makes me sick. If DJ's really want to
advance our system into the big world, we need to make albums people can understand. And do stuff
that makes progress. Who really cares about your "STAB, BOOM, JIGGA JIGGA, WHOOMP, SCRRRE,
HERE IT IS!, WHAT! UGH UGH" break record. I say if your parents don't get it, then it wont sell
and you'll be a broke ass DJ who wont be able to make anymore records. If you want to make your
music happen, then be business minded and understand you have to play the game right. DJ's are so
stuck on themselves sometimes they need to stop and look at what they just did to see if it was a real
move in the game. There are so many styles and labels on DJ's that it seems like most of them were
made to help out the ones who weren't well rounded. Like why call yourself a DJ if all you is play one
type of music? Better to call your self "HOUSE DJ RONNIE BUTTHEAD OR SCRATCH DJ COOOBIE
COO" I swear back in the good ole days that everyone played it all. Now nobody plays it all. Just a
bunch of "ONE CRATE JAKES"

As far as our contribution to it all, honestly if we all did anything for the DJ scene, we might have messed it up. We made it seem like all you needed was break records and samples to be a DJ We should've still played
parties and shown heads that we did listen to all types of music. But instead we pushed DJ's to only buy
break records and buy battle videos. Why is it that scratch DJ's are the most respected ones but most
don't play at parties or know how? Some other mobile DJ's who work their asses of can mix any song out
there but gets no props. What about them Nicks? So I lost what the fuck I was saying but it's all good.
But stylewise, I think its gonna go back to the basics of what sounds good to everyone, not a DJ I think
GoldenChild really rocked that DMC I judged because he really played a funky set. He had finesse and
showed he didn't just buy battle records with already made sounds. Its like getting a frozen pizza from a
restaurant instead of getting a fresh one. DJ's like frozen foods I guess. But that's where the term FRESH
comes from right?

What's new coming from your camp? Any releases? Anything new from my camp?

well, I am about to take over the world. I plan to open like 10 Cue's Records and sell everything. Even cd mixers. Naw just kidding. I don't know what's going with anyone. I've been in seclusion for awhile chillin with my family. I don't ask and nobody tells me. You should ask them. I'm working on doing some big shit though. Hopefully it works and if not its all fucking gravy. I do want to make a solo album though. Just its gonna take some time. Its gonna be some commercial ass radio shit so I can get my ass on MTV and be all hard so I can get some half naked ass chicks in my videos. You know, like how it should be done right? Just kidding. No I'm not. Well I'm actually gonna do a solo album and put it out indie style and just have dudes in baggy pants and backpacks at my shows. I'm gonna have no air play, no stickers, posters and only sell like 500 copies but still make it on a tour in Europe. Well that's more real right? Actually I change my mind everyday so I don't have any plans but to wake up each day and wash my ass. That's real.

I was reading an earlier interview from you, you mentioned that one of your
worst mistakes was signing a record contract. It seems you are on a more
indie side of music, and the record contracts from the pop world seem to be
frightful, but what was it about an indie contract that you felt was a
mistake? Should all artist, including indie artists, be fearful of any
record contract?

Oh yes, here we go. Well that is true. The worst career moves I ever made were dealing with 2 companies
who were half asses and made bullshit promises that a fly wouldn't want. They were just decisions I made
that I thought were going to help me focus on just making music instead of having to sell and market the shit myself. But as it turns out, neither company knew what the fuck to do. I don't say indie labels are not trusting but go with one with your guards up and don't believe a fucking thing they say unless its in writing and a lawyer looks at it. Don't look it over yourself and say its all good and end up getting screwed in the long run. I know how to get records out all over the world but I wanted to have it go up a level and be an artist. That's where I got screwed. No matter what you need to be the one in charge and make the calls. Believe it or not, if a label doesn't have acts to put out, they make no money, right? Well you make the rules so they are fair on both sides. I worked with Stray for a minute and had heard so many promises from them and it was all just hot air. Same with TRC. Neither of them can move records like I would for myself. I tried to help both and was not listened too. Like I don't know how to sell my own shit. I gave contact numbers and plenty of resources to sell the shit and they didn't do nothing. As a business person, I understand the way the system works and they didn't do anything but waste both of our times by trying to do too much. But that's just another story in the big book of music industry fuck ups.
I would say be fearful from labels that are ran by people who you don't see at shows or ever see out of the office. You wouldn't go to a doctor who smokes crack right? Well some people would....But honestly there are some good labels who will try their best. Just remember that people can change and be on point too. So go into any deal eyes open wide.

What do you consider your crew, a DJ crew, or a hip hop crew, and why?

I consider us a bunch of people who are into the same thing. No real label. But in politically correct terms, A Crew. We don't all do hip-hop so its more of like we are musicians, friends, and whatever and just do whatever. We don't have a chalkboard with a routine each day so we can hang out and be all industry like. If we kick it then its no business shit. We don't even talk about djing unless we are talking shit about someone.

In detail, how would you define a DJ nerd?

Ha ha ha ha. I guess it changes everyday. But today a DJ nerd is some one who just got a new DJ bag and got their name embroidered in it at Serramonte. But then again its also the kid who asked for a $800 mixer for their first mixer, and that kid who went and bought the learn how to DJ videos instead of listening to an actual recording of a DJ doing something live. I guess its more of anyone who misses the whole point of being original. We don't need clones. I guess those are the nerds. <<>>> Hey isn't "Pump That Bass" a dope song?

What is your take on the internet and DJs, how much of the net do you think
effects the scene outside of the net?

I really think since a lot of DJ's rely on the internet to buy records since most places don't have vinyl, that the internet is always going to be big. Especially if you make a mix and can't press up some cd's you can now stream it on the web for free. I think its important for DJ's to communicate with the internet. Especially since the community is so diverse. But one problem is that people take on the identity of really doing things but not really doing anything. Like websites with hella shit but no smell. Get it? I think the only way it does anything for the scene is when it gives info to kids all over the world who can't be at an event. It does suck that a lot of DJ's are bitch ass cry babies who use the net to talk shit. It would be nice to support the positive things and not the negative shit. I know I say a lot of shit too but I will always back my shit up and make sure you know I say it. Kids who hide behind alias names and fake email addresses are fags. It like the whole Scratchkon thing. I said what I said and it seemed like a bunch of fake ass names and alias's showed up to talk trash but real people who backed me up showed their identities. Its better to get it out and feel honest to people even if you don't like them. But real heads work shit out after the drama and move on. Where the real heads?

I know you go way back, actually, I remember you showing me an old school
vid of some cats from like 93 that were rippin up the cut, and never really
kept with it, like Richness, which is more on the production tip (which I'll
add is very nice). Who do you think back then, could of really been on some
shit if they would of stuck with the cut?

Dang I really don't know. Seems like there used to be a lot of heads around back then who were dope. I know back then most of the kids I knew where street heads with a lot of style and freshness. But that was all lost through economics and the media. (all political huh?) But really though, a lot of kids just got into other shit cuz DJ's became kinda soft and the new generation had a bedroom image and no streetness. Now I don't really know any DJ's from the hood. Mostly suburbs and mommas boys. Not that its wrong but it seems like you lose some identity of an artform when you take away the roots and pot it grew from. Now its all branches right? But no names to mention.

Who were some bay area DJs that had some off the wall skills but was slept
on?

Well I guess some DJ's who were out there were like Switch, Joe Quixx, Stanley, Rize, Pause, even some of the older radio DJ's were fresh and never given props. That fuckin weak ass Bay Area Hip-Hop Museum sucked cuz it didn't represent anything that was around back then. Just some whoever put it together shit. Oh well.

As a DJ, what is your dream, what would you need to obtain in order to call
yourself successful?

I don't need anything to feel successful but a supportive family and a good group of friends. Fuck looking to the DJ world to feel successful. But if you really want to know on that level, I would say that if I help out some kid to reach their goal in it all, then I feel successful. Its not about getting fame or recognition. I've played sports on top notch teams my whole life and got good grades in school and had scholarships to good colleges so this DJ game is not even close to that high. So the only thing that I would say is successful is helping out someone reach their goals.

If you had to leave everyone with some last words, what would they be?

Get yo freak on, get paid and get crunk. Right? Shit I don't know. I guess just be real and don't take this so serious. Life is too short and there is more to it than scratch patterns and beats. If you got a good way of living life then it will reflect in your music and success.

Shout out to all the good folks out there and the bad ones need some sex. (just use your jimmy hats)

PART 2 OF ASISPHONICS INTERVIEW

What did you think of the movie scratch, how did they come at you to be in the movie, and what shadiness did they
pull on you?

Well I think the movie will do a lot for the scene. In general, people who don't care to go to shows will be able to get a taste of the life and what the hell all of us really do. We all know what we do is kinda hard to explain to some people so in reality its like a crash course on the art we got going. From what I heard they wanted us to be in the movie for awhile, way before they got us at Skratchkon. We totally knew how the movie ordeal goes and we knew we would be censored and they would make our scene turn out to be only positive things that help out the movie. I swear, I always thought a documentary was about showing the true answers and ideas of the person interviewed. I don't expect you to ask me all these questions then pick out only ones that will get you more readers. What's the point of me wasting my time right?

Well on the other hand Iknow its not a movie about us and you can only spend so much time on a scene right.Well basically we only did it for Christie-Z. She really looks out for the crew and she is one of the few people we respect in the business. She really was helping out the producers and wanted to get as many crews in the movie who were really actually contributors to the culture. But we still knew in our minds that we would get shafted in the end. We were told our interview was the
best they had done so far cuz we were so honest. We didn't go into all this shit about things we did or were apart of. We just broke down what we saw in the whole out it all. I saw the movie already and a lot of guys basically used it to market themselves. Fuck them. Get a real job, I have one. I swear some dudes just think they are almighty and need this to boost their ego's. Ok back to the questions. Well the shadiest thing to me was the fact that we answered some true to heart questions that they asked us. Why the fuck ask a serious question and not report on it. I swear I try to be as honest as possible and wanted them to show what I had to say. Shit, if they put some of the shit I said, that movie would be so controversial but at the same time be right. I spoke for the people who didn't go to battles and who were disgusted with it all and the way certain people made it a huge business by shitting on others and their friends. That's just real. I have nothing to hide.

Most of the time I can't remember shit cuz I let things go
but that day it all was there and I said it all. My whole crew spoke their minds and we were silenced. Politics right? Go figure. I'm sure if what we said was shown in the movie, then certain dj's wouldn't want to be in it cuz we would've pulled their hoe cards. Most bitch ass fools would say we are haters but in reality they are the ones cuz they are the ones fuckin shit up for everyone but themselves. I don't give a flying fuck about what people say to me or about me cuz I have a positive mind state and really honestly care about the whole scene and wouldn't say anything to make it regress. I know I can help lead others to a better way of it all. I don't need anything in return or need a payment. It would be nice but a simple shout out is all good. But all in all I don't care for the movie. If they wanted us to be in the movie so bad then why do we keep hearing about the movie from other people? I didn't know they had a screening already earlier this year. I didn't know it was gonna be shown tonight? Shit, I only get 1 guest list spot to go see it. Damn, I thought we were important. Oh well, wait til I make my movies. Shit is gonna hit the fan. No self promoters and the DJ's will get paid.

Explain why you think The hip hop museum wasn't really true to the bay?

I think the hip-hop museum sucked. Just sucked. Puffy and Mase don't need their space suits in their. We didn't need all of Q-berts mixers in there, I mean really there was DJ's out here before him. I know this. He knows this. He could tell you about hella DJ's who were out here doing shit. He knows his shit. I just think the people who organized it were really ignorant to realize that the Bay scene did not just start all of a sudden. I mean Apollo and Mix Master Mike were doing shit way before most fools and they barley get a mention. What about all the radio DJ's from KSOL? KPOO, KZSU and the list goes on. What about the heads from Sac-Town and San Jose? Isn't the Bay Area a huge area? It was only like Oakland and Frisco. Its also something we all needed to speak out about and not let them do it again. DJ's have no clout in the corporate world in reality without us, they don't get paid. We are the spreaders of the disease if that's a way of saying it. But for the museum to be so commercial based, I thought it needed more input from artistsand not media people.

Most media people only know what they get in a press kit and what they read from other articles. SO if I send out a press kit saying I'm the best dj in the world then the person who doesn't have time to fact check cuz his boss is pushing him to meet a deadline is just gonna say that I am the best dj in the world right? They rap shit was good. They really did a good job on it. I saw a lot of tapes that I used to sell at Cue's. I think the Music People had something to do with that. But the worst shit was the dj shit. Not to be an asshole but where the fuck was OUR shit? Go figure. But I guess we aren't hip-hop right? Its all good, its betterto not be associated with that shit in the long run. Even the people who ran it didn't know who was who. Is that fact or fiction? Did you know I wasn't allowed to take pictures of the little spot we had for Hamster breaks? Oh yeah, Quest got his own section. I didn't know he was even in it. Did you know between everyone in our crew we have over 25 albums out? But I guess that doesn't count as an accomplishment. I am a bitter ass person. Yeah right.

Well I would really like to send some important shout outs to my family members in Miami, New York, Chicago, Seattle, Puerto Rico, Nicaragua, and to all my blood brother really good folks out in Holland, Japan, China, Hawaii, Spain, Italy, UK, and in space. Also shout out to Redman

Damn, in ending, all we @ Asisphonics have to say is, he's lead by example, the example is,
speak your mind and don't be a prisoner in your own body. Fuck the politics, and big ups to
everyone speaking their mind in a positive respect, even if it ruffles a few feathers. We
support that. And on that note, listen to this track which sums it all up. -Nicks

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Cue's Hip Hop Shop - Volume One
"Nope, never been there. But if the stuff on the shelves is as dope as the stuff on this compilation, then I know, that a trip to this store would just kill my wallet."

"Oh, you didn’t know? Yes, Cue’s Records is actually a Hip Hop store. And you can get all kinds of stuff there, naturally especially 12" vinyl. It even says right on the front of the building ‘keep vinyl alive’."

"And yes, Cue now has put a compilation together, featuring artists, that are probably some of his best customers. Well, others are probably what he likes to listen to himself. But check out the "Live At Cue’s" by the DJs Apollo, Vinroc, Shortkut and Richness and you know what is going down at this store."

"I know that you enjoy the DJ tracks too, and that’s what you get on half of the compilation. He really put together a nice combination of ‘traditional’ hip hop, with beats and lyrics and ‘evolved’ turntable trickery hip hop on this here."

"Well, if you want to be convinced why you need to buy this, then just check out the line up. What you don’t know many of them? Yeah, you are right, nor do I really, but they are nice. And it’s really cool, that it says on the sleeve where everybody is from. I like that."

"Make sure you check Double Life feat. Raw B’s "Cycles Of The Mind". Man, that’s L*Roneous, you know the guy, that put "Imaginarium" out. You know he’s deep. Izm Da Mad Soul is really dark, I’m not sure if you like that. And have you heard of Live Human? That’s a group consisting of a band, playing real instruments and DJ Quest breaking needles. Oh, and you do remember the group I once told you about Sacred Hoop? Yeah, they are on here too, and their seven minute long "Not Our House" can be considered the nicest track on the compilation. What really surprised me, was this ‘ambient’, ‘trip hop’-ish "Peptic Relief" by Westside Chemicals. But I really enjoy listening to it and picturing some planets. In some way, DJ Badrok’s "1-800-Coming Correct" is funny. And it’s well executed too. This is how all DJ tracks should sound like. Or maybe like DJ Marz’ toned down, atmospheric "Lake Futon". You already know the Third Sight track from their "The Golden Shower Hour". Yeah, Mr Dibbs is a 1200 Hobo, so you know how abstract that can get."

"Well, some of it is not as cool as the rest. Like Rasco’s "Me & My Crew" is already too known from his album. The track is still nice though. Kutmaster Kurt is definitely a force behind the board. Well, Antares’ "Imagination" is not really wack, but I heard better cuts. And unless you did get that Low Rider, Big Dame might not be that much fun. You can’t really argue Rob Swift’s beat juggling skills, but that track is too slow moving for me. His technical skills are amazing though. His fellow X-Men, Roc Raida not only juggles "The Unassisted" by Rasco he also cuts up "Good Times" and other stuff. Again amazing skills, that will drop jaws in many bedrooms. But for people that are not DJs, I don’t know... Oh yeah, Quantum Flux feat. Spaztik MC suffers from being lost somewhere in the mix."

"But hey, that’s only me, you can only rely on what I’m saying so much. You might as well check it out yourself."

review: tadah the byk