Tranzine | DJ Marky

EXECUTIVES,

TAKE POISON!

This is the recipe of Oliviero Toscani, former advertising photographer for Benetton, for a better world

DIFFERENCE BETWEEN

SEX AND GENDER

Unraveling the distinction to understand the complexity of human identity

LONG LIVE

DIGITAL MUSIC!

A new era for the music industry

NORTHCORE

DJ Carl-Joakim talks about his electronic project and the scene in Australia

DJ MARKY

The DJ from the outskirts of Sao Paulo who conquered the world

HEMP - WHY ISN'T

IT LEGALIZED?

What are the uses of this plant? Why is it banned?

FREE, AT LAST!

Freeing yourself from the networks of religious dogmatism

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“DKANDLE weaves swirling multi-colored vibrant unearthly soundscapes, blending fuzzy and reverberating Shoegaze textures, mesmerizing Dream Pop meditations, sludgy Grungey tones and moody Post-punk strains, heightened with soul-stirring lyricism and pensive emotive vocalizations”

TAGS: dj, interview, music, electronic video, videos

Good DJ - A good DJ, in my opinion, has to create good mixes and excellent selections. If you can put it all together, you'll be a great DJ. It's challenging to feel the dance floor, to have the craftiness to know when to play that song. Not to mention, you have to research, chase after new releases, buy magazines, access the internet. You spend a lot, invest a hell of a lot in records. Everyone thinks it's easy, but it's not at all.

Beginnings - I had early contact with music, in my own home, listening a lot to my father's records. I would listen to radio programs with American DJs and go crazy. While my friends would ask for toy cars as gifts, I would ask for records from my mother. I immersed myself in radio programs. In the early '80s, DJ championships started, and I ended up entering some. Since I didn't have a turntable at home, I practiced at friends' houses. I lost the first two championships I participated in. Then I won seven in a row, and from there, I won them all. It was common to give a mixer as a prize, imagine the pile of mixers I had at home.

Path - One of the last places where I participated in a championship was called Show Business, in Penha, East Zone of Sao Paulo. I won the championship, the mixer, and ten more imported singles, which, by the way, were crap, like clearance items from a store. I was invited to stay in the place. After a few months, I moved and started playing with DJ Julião. A lot of people came to see me play, that's when I became popular in the outskirts of the East Zone [of Sao Paulo, Brazil]. From there, I received several proposals to work in venues like Overnight and Toco. I went to Toco, where I played for 4 years, and from there to Columbia. One day, Erika Palomino called me to play at her party, inside a train. People really digged my sound. I played alongside Ângelo Leuzzi, who was about to open a venue and invited me to work there. I was going through a tough period. I couldn't play in other places and was thinking about quitting. That's when Ângelo called me: Lov.e will open on Thursday, and I want you to play. I've been there ever since.

Drum'n'Bass - In 1990, I worked at a record store when I discovered hardcore, a music style arising overseas. It was the beginning of raves in England. The Prodigy, at the beginning, had a really smart sound, and I started betting on this type of music. The evolution of this style brought jungle, which is faster. Bjork named jungle as drum'n bass when she was dating Goldie. She said: This music is drums and bass, so why not call it drum'n bass? Many people say that jungle is one thing and drum'n bass is another. Nonsense, it's pretty the same.

Passport - There was an event with several international DJs, among them Bryan Gee (owner of V Recordings) and Edo Van Duyn. They saw me play and went crazy: "you have a future, you have to play in England." Bryan Gee took me to England, but today I'm managed by Edo Van Duyn, the promoter of the Movement party at Bar Rumba.

BPM - When did you ever imagine you would dance to a song at 175 beats per minute? Never. I don't know the future of music. If you speed up the beat more, it becomes Gabba, a style that reaches 200 beats per minute, which only the Rotterdam crazy people dance to. Drum'n bass is the music of the future, a very new thing, a broad style of music. You can work well with it, incorporate elements of jazz, rock, techno, bossa nova, percussion, and do various things. Many people are working on drum'n bass. There's even a crowd doing acoustic drum'n bass.

Evolution - I played punk in the early '80s, as well as new wave, hip-hop, house, then played techno, acid house in '88. I really like new wave. I had all the records from B-52, Devo. Devo is fast, and it's more or less the same beat as drum'n bass, it makes sense. It's strange how everything eventually comes together, ends up at a common point. Not long ago, I started liking rock, Doors, Jimi Hendrix. I adore the Beatles, always have, and listen to them regularly. I also like Brazilian music, Otto, Max, Jorge Ben, and bossa nova. I've learned to listen to good things that have musicality. I think I wasn't mature enough for this type of music before. Currently, I host a night each week where I only play songs from the '60s, '70s, and '80s.

World - I go to Europe quite a bit. In February, I'll be playing for the first time in Canada and the United States. I've thought about living outside of Brazil, but my overseas manager doesn't want me to leave here. It's part of his marketing strategy. Not to mention my commitments in Brazil. There are two venues that are very special to play, one of them is Manga, in Edinburgh, Scotland. Once, I left the sound all sweaty and tired, went to the door to get some air. About ten people came, and they started kissing my hands, my feet, bowing down: "damn, you're awesome, when are you coming again?" they ask. I was a bit stunned. Another place I love to play is in Ireland, in Dublin. It's absurd there, people love me. I mixed a CD that was included in a local DJ magazine called Knowledge Magazine. About 300 people came asking for autographs on the magazine. They said they had never heard a set as good as that. And it wasn't even perfect...

Axé - Brazilians living in London don't know drum'n bass, and they don't really know who I am. Not many Brazilians come see me play. There are some Brazilian parties where they play Roberto Carlos, axé, and stuff. I play mainly for English people.

Play that one - Recently, I was playing in Brasília for about three thousand people, and a very beautiful, fragrant woman came up to the DJ booth. I started sweating. I thought: "Today's the day, right?" She came up to me and said, "Hi, how are you? Your sound is amazing, you know?" "Well, thanks, right?" "Let me tell you something." She came very close and touched me. I went crazy, wow! "Your girlfriend isn't here, right?" "Nooo, I don't have a girlfriend." "So can you do me a favor?" "Sure. What is it?" "Can't you play some axé for me?" "Ahhhh... damn, I'm not an axé dj. I'm here hired to play at the club. Imagine if I play axé... these people will leave and never come back." She insisted because she thought I could hypnotize people, and even playing axé, the crowd would stay at the club. Imagine, I would be lynched!

Tough - I worked day and night, but thank God, for the past 5 years, I've been living only at night. Today, I play almost every day, in addition to studio work. I've been a professional DJ for about twelve years, but I've been playing since I was ten years old.

Molly - Drugs are a big problem, they're out there, and anyone who wants to use them, regardless of the music, will use them. If a guy is listening to Sandy & Junior and wants to take ecstasy, he'll take it. There's no connection between drugs, music, and DJs. Those who like the music come here to listen to the music, and those who like to listen to music high on drugs, will listen. The media generalizes it. I've read in a magazine that djs are to blame for people using drugs. Absurd. You don't need to listen to music to get high.

Mix - I have a project to release an album with my own compositions. And I'll invite some artists to sing, Otto, some different people, some foreigners. I want to do something very different. My album will have techno, house, funk, some acoustic things, 70s style, in the James Brown line. Even though music has evolved, I don't know a band that took what the guys from James Brown took, it's incredible. I'll work with ease, with more than one producer. The album will be out by the middle of next year, first in London. I'll make some promotional CDs and send them to DJs to play. It's a project entirely focused outside of Brazil.

Disaster - I think I was born to play, to be a dj. If it weren't for this, what would I be? I've been a mechanic, a disaster; I made lamps for Tok&Stok, a disaster; I worked at Bovespa, a disaster; I've been a delivery boy, tried to play soccer... the only thing I know how to do is play yo-yo. I live music 24 hours a day, listen to a lot of music. I put together a CD with a bunch of songs from the 60s, 70s, and 80s and go for a drive. Sometimes people think I'm crazy, but the car is a great place to listen to music.

Tacky Brazilian Music - I like some cheesy songs, find them funny. I don't know if it's because I played them at the time. My sisters used to ask, "play the Rádio Taxi song for us to dance slow," so I played that song "Coisas de Casal." I remember at home, we had a black and white TV when Rita Lee's album "Lança Perfume" came out. My dad bought the record and listened to it a lot... "Caso Sério," "Nem Luxo, Nem Lixo."

Millionaire - Everyone thinks I'm a millionaire. There was a newspaper that published that I earned 20 thousand dollars per performance. Bullshit. Well, I don't even have my own house. I live with my parents, my sisters, my dog, and my records. I think I'll be stable when I can do two things: buy my own house and buy a house in the countryside for my mom. She always wanted it, and for my mom, I would do anything. My grandmother's dream was to have a rocking chair, but I couldn't give it to her because she passed away before.

Marky Mark - - People kept asking me to play the Marky Mark song that played on the radio. I refused to play it, hated it. The song had a sample of "Love Sensation," a 70s classic, and I couldn't accept that guy using that sample. I was really mad, and they started calling me Marky Mark. And it's when you get angry that the nickname sticks. My managers abroad didn't like that name and asked to cut it, so I became Marky. Here, people call me Marky Mark, Mark, Marquinho...

Disco - - I buy an average of 40 records per month. Today, I have approximately six thousand records. I keep everything in my room. I don't have a classification; I just know where everything is. I have compilations, rock, techno, drum'n bass, but I need to buy some salsa records because I'm into that style now. I'm still going to become a salsa DJ.