Table of contents for Skate DJ Profiles
- A Look at Skate DJs
- DJ Big Bert Lopez
Without them and the music they provide, what would rolling at the rink be? DJs make skate sessions a joy or a sadness, depending on the music selections they make.
When skaters get a “good roll” – there’s no end to the satisfaction and joy they feel but, on the other hand, when a 3-4 hour session turns out to be more like an experience that seemed never ending and had you leaving the rink with a serious attitude – it’s a whole ‘nother story.
In preparation for a new RST series called “Skate DJ Profiles”, we are revisiting a 2003/2004 feature from Bill Butler’s “Good Jammin’ News” column in which he addressed the topic of DJing in the adult roller skating world. Read more in:
The Trials of Skate DJs (Jan/Feb 2004)
In response to his column, a skater sent in this question:
Q. I understand what you’re saying about the DJ.I’ve been skating at millinium,franklinville and skate 22 for the past year.All for different reasons.Franklinville plays no less than 4 slow sets.it’s good for that.the sound system sux and the hip-hop is repiticious.Millinium is the closest rink to philly.the DJ seems to “play records”.( the same records as franklinville),without reguards to: flow, storyline,creshendo.at both Rinks It seems as though “These are the records I play.I remember nothing,I experiment with nothing,I feel nothing from my skaters,I don’t need to take them anywhere”.I wonder sometimes if these DJ’s even see any skaters.”I’ll play these and go home”.Skate22 has a real DJ.I walk into that joint,and before I pay my money I’m like,DAAAMM!!!! There is a feeling you get when the music is right.you realize you’ve been skating non-stop,you say “OOOOOOHHH” alot,and there is a cross-section of music:old-school,hip-hop,reggae,underground,slow jams, etc.you don’t mind cause the DJ is moving the crowd in a positive way.You don’t feel neglected, and your’e saying to yourself “YEAH I’m Gettin’ My Skate On.That’s when the rink turns into a club.You know when it’s happening cause people tell you.Just like they tell you when the music sux. This DJ knows his crowd and plays FOR his crowd not TO the crowd.
Your article left out a very important part.The List of DJ’s who are examples to be followed.and more importantly where are they?????
This question and Bill’s answer were published in the Mar/April 2004 column as follows:
[BB] - I didn’t leave it out, I don’t know where they are. I don’t have that kind of info. I know about DJs, I don’t have to know where they are, it’s the principle of the skill, I don’t know where they are. There are different types of DJs, I say all DJs are the same until it comes down to being creative, every DJ is not creative – there’s a separation there. You’ve got a creative DJ, one who cares, knows, understands, can feel, he knows where to make the mix, when to make the mix, you don’t skip a beat. A DJ is like a heartbeat, he’s got to be sturdy otherwise you have a stroke, that’s a good DJ, one that can make the music, he’s just got to know how to do it.
A DJ is like having a horse, riding a horse and the bit is in the horse’s mouth and you’ve got to know just how to handle the bit so you don’t make the horse’s mouth bleed. You’ve got to be that tender and that concerned, that’s what that has to be. A DJ is a very important aspect, be it a party or whatever, we’re talking about a serious DJ, not talking about a guy that comes with a thing full of records. My whole concept about a DJ, and I’ve said this before, a good DJ comes to the rink with enough records under his arm to handle the session, not crates and crates. What is that, is that his form of exercise? Of course, things can happen – you could break something, but I’m talking in general when you’re talking about a DJ coming to play a gig, you don’t need all those records. He knows what he’s got to do, if he’s done his homework, he knows what he’s there for, he takes care of business with one little crate of records, he can handle it, if he knows what the job requires.
It’s just like cooking, either you know what the ingredients are, or you don’t, to make that particular meal. Other than that, you’re gonna have someone pushing that plate away. You’ve got to want to be a person working, so you have to make sure what your deal is or get out of the DJ business. People pay money, you know what, I think people would scrape that money up to come to a place where the music is super good, when it’s knocking your socks off. You don’t want nobody talking because he’s on it so hip, the right volume, the right speed of the record, the control throughout the session so the skaters don’t go home like a jumping bean. He knows just how to make that level – it’s what you call a comfort level, what you call a comfort zone, throughout the evening, that’s a good DJ.
The only time you’ll have that person, is one that gives a damn. I don’t think it’s about the money so much….that’s why I always say if the DJ is good people will pay, the money takes care of itself. DJs think they should get paid based on how many years they’ve been playing, it’s just like natural food – natural what? It could be natural crap, don’t get the word ‘natural’ mixed up with ‘good’, it’s got to be the right stuff. If it’s not the right stuff then it’s not so natural. Let the DJ play if he knows what and how to play, those 2 things are key. How to play and what to play is the key.
Picking up on the topic in 2010, as Part 1 of the profile series, an interview RST conducted with California’s DJ Big Bert will be posted, (if all goes as planned), by the end of next week. With over 30 years experience as a skate DJ, he has much insight, wisdom, advice and experience to share.
Over coming weeks, RST hopes to get in touch with several other skate DJs who are, (or have a history of), “getting the job done” in their cities and/or at national skate events. Their words may be of service and help to up-and-coming DJs who desire to improve what they are doing in their local areas.
Stay tuned.
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During the civil rights era, 
Ida B. Wells