Musik mit drug
Dj Peter Visti inviterer gæster ind til en åben snak om kærligheden til musik og hvordan man bruger og nyder musikken i museo local podcasten.
musik mit drug.
Ny episode hver mandag kl 08.00
Musik mit drug
#31 Katrine Ring
En åben snak med dj & Radiovært Katrine Ring om hendes passion for musik .
I love you. I was quite young, slept with headphones on and listened to music during my night sleep, something I still practice. Music is my passion, my drive, my mood and my daily life are formed and can be changed by music. Music has a unique ability to awaken feelings and connect people across cultures. My goal is to find out how different people experience love for music and how it enriches their lives. Every week, I invite a new guest to talk about their relationship to music and how they live and are influenced by music. Insight, inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Lokal podcasten, musik mit Druck and welcome to Katrine Ring.
Speaker 2:Yes, thank you, nice to see you. How are you Nice to see you In the same way, nice to be here.
Speaker 1:You are insanely nervous, you said to me just before we started. Yes, yes, because you have never once spoken on the microphone, never. How many years have you been on the radio?
Speaker 2:I started in 1982.
Speaker 1:Yes, that's, crazy, yes, that's a lot of years. Yes, it's many years and you still do it and I still do it. You're a DJ yes, you're a radio host yes, you're a writer yes, you're a presenter yes, do you have it all?
Speaker 2:Certainly not. I'm also a composer. Yes, yes, I work with sound art exhibitors, do assignment tasks and I've been doing that for the last 15-20 years.
Speaker 1:That's insane. All that you do. You play a lot? Yes, I do. We don't know each other very well. We've met quite a few times, but we're in the same environment.
Speaker 2:Yes, it's always been something like right at the edge of a bar or a dance floor or next to a desk? Yes, exactly. So, it's been a lot of. We've been in each other's periphery, you could say yes, you could say that.
Speaker 1:Through 40 years which is wild enough, but what's it called? As I just said, you play insanely much when I follow you on Instagram. Yes, how can you keep up with what you've played? You started as a radio host in 1982. You play before, or what?
Speaker 2:No, I started as a very grown man. I'm 27-28 years old when I started, in 1988. That's the first job I do, and in the next five years, that's where I find out that I actually have started to put a lot more effort into working as a DJ. Okay, and then I've worked, you could say, in professional relationships since then yes, at least since 92, 94, around yes, and then I've lived off it for the last 25 years. In the end, wow, yes, that's insane.
Speaker 1:Wow, ja, det er sindssygt. Ja, hvordan kom du I gang?
Speaker 2:Som DJ kom jeg I gang, for der var ligesom tre årsager til det. Ja, den ene, det var at jeg I 88 faktisk oplevede Giles Peterson's klub. I actually experienced Charles Peterson's club, which was called Talking Loud, saying Something, in Dingwalls in Camden in London and it was a Sunday club that started at 12 in the morning and continued all Sunday and the families came and it was all from kids to best friends and I thought that was deeply interesting, while playing the wildest jazz on the record players and I could really like that very, very laid-back way of doing things and eating and you had a life. You had a family life at the same time, or a everyday life at that Sunday club. People danced, ate and drank Very, very nice. The other thing was that I started to meet some of these different new DJs, the new DJ culture that came at the same time with Acidhausen and Acidjassen. Some of the Danish names were people who knew Bager, the Durdrengene.
Speaker 2:Delgado, kottfarn and Solchok and all those guys Thomas Hintz came along as well and Easykot and, out of all the reasons, it was me who had to be their playmate and teach them how to make radio, which was completely hopeless because they broke all the boundaries of how to make radio. It was completely hopeless because they broke all the boundaries of how to make radio. But it made me start coming out to all the different things they did Clubs, competitions, parties and so on and I thought she's really cool.
Speaker 2:And the third reason yes, yes, because that's where I started to become very aware of what I actually can do on Danish radio, because there is completely free play.
Speaker 2:We don't have playlists, no, exactly meget bevidst om hvad jeg egentlig kan på Danmarks Radio, Fordi der er fuldstændig fri leg. Vi har ikke playlister. Nej, præcis, Og playlisterne bliver noget der bliver meget populært hos ledelsen på Danmarks Radio omkring 1992. Ikke lige de programmer jeg laver, men vi kan simpelthen se at det er det der dukker op, Fordi man gjorde det på BBC Dan. We can see that it's what's coming up Because you did it on BBC. Danish Radio has always done it on BBC, and at the time when BBC actually leaves these playlists, they introduce Danish Radio. And then I thought, a free bird like me, it can't be helped. What can I do? Because I loved being on Danish Radio, what can I do? Exactly the same as I do on Danish radio, but without Danish radio. And the answer was to be a.
Speaker 1:DJ Wow.
Speaker 2:And then I ordered a visit card where it said DJ on it, because I thought, then I can at least say that I am it.
Speaker 1:Now I have at least the card.
Speaker 2:Yes, that's the proof.
Speaker 1:Yes exactly how strong, how crazy, Katrine, that you were a radio host for so long, and the D-Dur was a very, very groundbreaking. It was the first electronic radio program we have in Denmark at all and it was something I sat in Jutland at that time and heard and I thought, oh, they came home from Ibiza and they came home from all over the place to play records and I thought, no, I also have to get that Down in the street dance and have it in the record. It was a pretty insane time because it was there, where it's of course on the global level, where electronic music for all of us starts up. So it was a big program and you were involved in controlling it.
Speaker 2:No, it wasn't me controlling it. No, I just had to hold it in the toilet.
Speaker 1:Yes, that's what I mean.
Speaker 2:It's the same as controlling it, but my head was crazy so it couldn't do anything, but it was just groundbreaking. And if not Kim Schumacher had been there first, then I don't think you would have made these programs.
Speaker 1:No.
Speaker 2:And it was Kenneth Bader who actually was initiated by a radio host called Hans Sydow, who later became a pioneer in sound art. Yes, and he invited Kenneth Bager in and Kenneth Bager took over and then it was like it went completely amok and they introduced the camping car and they traveled around and met all kinds of strange people, as always happens when Kenneth Bager is involved.
Speaker 2:Yes, yes, well, that's not, it was completely unbelievable, and it also made it so that suddenly this type of music came out all over the country. It had colossal importance, because where else could you hear any of this? If you, for example, lived in Sønderborg and there wasn't much of that kind of radio.
Speaker 1:There wasn't any radio of that kind at all. At that time the local radio had just started a couple of years ago, but it was very, very mainstream.
Speaker 2:Yes, and you were very careful, because it also had a much more commercial perspective and you no longer had Radio Luxembourg, which could work in that way. It was also down, ikke længere Radio Luxembourg som kunne arbejde på den måde. Den blev også nedlagt I de år der Ja Sejt. Det var fantastisk at være vidne til.
Speaker 1:Ja, det har vært banbrydeligt for vores senere.
Speaker 2:Jeg har stor, stor betydning, de tre dagsprogrammer vi har haft. Ja, ja, ja.
Speaker 1:Og hvordan startet du selv på radioen? Det er jo lidt til Oonga Boonga and all that. Yes, exactly, and how did you start on the radio? You said it was back in 1982.
Speaker 2:Yes, in 1982, I was a member of a new wave group called Pin Ops.
Speaker 1:Yes.
Speaker 2:And we actually got a record out as one of the few groups in that year. Yes, and we had almost a Danish yes, alternative music. We played what was also called fast rock. We could like jam and undertones and such English names. And then we come to Danish Radio, where the very same Jens Neum is going to interview us.
Speaker 2:A great radio legend and who was an expert in alternative music and who was curious about everything. He was A radio legend and who was an expert in alternative music and who was curious about everything. He was. What should we say? The Danish John Peel BBC had John Peel, who was on completely the same ballgates as him. I agree.
Speaker 2:And then we were asked what kind of music we listen to. And we were very much obsessed with, or the band was very much obsessed with, Bowie. We were called up for a Bowie album and of course, Sex Pistols, because in the 80s it was a lot of Sex Pistols, the Damned and such. I had been with my parents in Italy for a very, very long period so I didn't really have that English sense of Bowie and the Jam and Stranglers for that matter. I didn't really know them, but I knew Sex Pistols.
Speaker 2:And then I said I knew Sex Pistols but I had been in Italy so I had been part of the Italian music scene and there wasn't so much punk, except for some single names that were fucking funny and that I could like. And then Sneum says can't you make some releases?
Speaker 1:about that. He listens, you know, and then he thinks here's one that can do something else.
Speaker 2:And I say that's typical of me. And then I had to get hold of all my friends because I didn't have a single record. So they sent me a cassette tape. They sent me records. I got an appointment with the Italian Cultural Institute on Gjerlingsvej in Hellerup about going in and lending some of their records, and then I played what was available. But that's what you do, because that's what you do. And then I had to tell some stories about it and I didn't know anything. No, so I found out and they simply thought it was so successful I had to make an edition for it. And then I was on it because I had used all the good stories.
Speaker 1:You had used both the records you had borrowed and all the stories.
Speaker 2:Now, or what. And then I had to do it again. And then I had some friends who lived in Copenhagen, who were Italians, where I could borrow their records, and then I made an edition for them, but that was mostly in Latin, so I started on pure fake.
Speaker 1:I think we're all like that. You don't always have to lie to yourself.
Speaker 2:Yes, but it's been going on for more than 45 years, I think at the time it was going was.
Speaker 1:But I think when you start it's hard to come. Now I started as a DJ already in 1980, and came first on a real nightclub and so on up in the time we're talking about here in 76, 78, 80, right, it was fucking hard to come in and play because there were only English DJs at that time and they had all the new records from London and stuff. So I also lied about playing somewhere else and then I could come there and when I was there I said why are you there? I would also like to go over to them. So that's how it started.
Speaker 2:Yes, yes, A little lie and, of course and it's become a little harder today, I think you can't lie today. No, you can't lie in the same way. You can't lie today. No, you can't lie in the same way.
Speaker 1:I've called you many times. No, you haven't. I also said that to Ken Bager when I talked to him. Just in the long run he could come home and say this record is the best record on Ibiza right now and blah, blah, blah. And you didn't have a chance to check it. If Ken Bager says that or someone else else says it, then I go on the net and say no, it's just not there. Then I can check it with the same. You know you couldn't do that back then. So the lie stories were a bit fun too.
Speaker 2:Yes, and it also made that the hits Were some other hits Than they are today.
Speaker 1:It was more magical that there was a whole story.
Speaker 2:Yes, and there was a whole selection of music, because you could have corrected differently when you had a Kenneth Baer who could say this is the most secret record I got all the different promotion records and then I thought it's secretive because I've heard that before.
Speaker 2:Yes, I couldn't find it, of course. No, but I have a knowledge of tones and stuff, so I just knew that I'd heard that before. And then it went on for a year and a half where I suddenly find this record and I thought I should have heard it again and I thought it was that secretive record that Kenneth talked about, it was a third-ranked record that no one had put on. But he got it hyped up.
Speaker 1:Yes, exactly.
Speaker 2:And it's become a classic. Today I can't remember the name anymore, but you hear it from time to time.
Speaker 1:Yes, but that's what the Kutti stories at that time were. I totally agree. How funny. So you get your stuff in Katrine, Like all of us. Yes, yes, but when does your own passion for music start? Is it at home, or what is it? As a child, or as a young person?
Speaker 2:How do you discover music If you can remember? Yes, because we have a culture in the family. My parents are artists. My father was a writer and was, among other things, bartender at Vingården, the old jazz place in Copenhagen. So we knew a lot of jazz people. Papa Boo was a part of my parents' wedding, for example. They were some of the friends. My mother has been a banjo player in Leonardo Pedersen's jazz chapel for many, many years since. I've traveled with them, among other things in Germany and so on.
Speaker 1:So you've gotten in with the mother milk in a big way.
Speaker 2:Yes, that's what you have to say.
Speaker 2:Or at least the story. Yes, and she was later a picture booker, but we were a part of the family, was a part of that artistic environment with writers and jazz people. The family was part of that artistic environment with writers and jazz people. My father became a cook and was at Rolaje Kro At that time. All that jazz thing was at Rolaje Kro, so we you could say in that way, it was a natural part of my childhood home. We moved to Lolland when I was pretty little, so four or five years old. Yes, and I'm a single parent and something you have to take when you're a single parent.
Speaker 2:I could have read a whole lot of books at a very early age and then at Lolland. Yes, and then at Lolland too, there were good antiquaries. I would say, but you also have to do something other than that. You also have to do something other than that. You also have to do something together with someone. And then I actually started to go to music.
Speaker 1:Yes.
Speaker 2:Because that was also something I could do at home without having to be with others, and then I let them play some different instruments, especially wind instruments. That was obviously what was good for me. I never knew anything about tangents or strings, but wind instruments I can. Yes.
Speaker 1:They don't start with a block flute in high school like everyone else.
Speaker 2:No, no but the block flute was actually my main instrument for many years, and then I go over to clarinet and I go over to saxophone. When I started playing in a punk band.
Speaker 1:Well, that's perfect it was. It was fantastic.
Speaker 2:I played in a punk band where I played clarinet and there was a film director. He played hi-hat.
Speaker 1:As the only one.
Speaker 2:And then there was a third one, and he was always full. I think he played another. He could play on a guitar, but he only had three strings on.
Speaker 1:It sounds very punky, though it was.
Speaker 2:I think we rehearsed three times and then the career was over.
Speaker 1:Oh, that was it. Yes, okay.
Speaker 2:But you could say so. When I got into this New Wave Orchestra, it was like singing inside Although, though, I'm not a good singer, but I've been there for five years and it ends up with us releasing this record. We also get a few concerts, which Danish Radio records.
Speaker 1:But where do you find the music yourself? Where do you get fascinated by the music Do your parents listen to at home, or is there a record or music where you think, okay, this is where I really catch it, or is it a little? Behind it maybe.
Speaker 2:No, I have a very active relationship to music from a very early age. Or. Fitzgerald, for example, is one of my favorite singers. Dizzy Gillespie, for example, is one of my trumpeters that I love on earth. We talk about music, we discuss music, and we always listen to music in the morning, and then we should listen to good music or we should listen to funny music. Funny music is pop music and good music is the classic.
Speaker 1:Yes, Because it's quite sophisticated music for children to listen to. I think I understand that we as an elder I first came to jazz late in or now I'm not.
Speaker 2:You should think about it.
Speaker 1:Jazz was a part of pop culture, especially on the radio and such things.
Speaker 2:Yes, exactly, that's right.
Speaker 1:But you're of course just a few years older than me. Yes, I'm 63.
Speaker 2:It's not much older than me, so you're just 5-6 years older, but it's a generation.
Speaker 1:Yes, it is. I've never thought about it. It's true, danish. Radio was a cultural institute for jazz music long before pop music came in. Yes, exactly.
Speaker 2:But we could never hear music when my father wrote, because it disturbed him. So it had always been quiet, but when he didn't write we could laugh and do all kinds of different things and he never had any against me practicing, and you know I've been practicing scale and so on and so on, but it was allowed. Then I played harmonica. I always did that in the car.
Speaker 2:Because, then I didn't stick my teeth out, but I was very good at it, I was a good blues. And then I was 10-12 years old and I also learned to use the lungs, use the abdominal muscles, use the spine in a sensible way. So I've done that through all the years.
Speaker 1:It's a fun way to start music. I think about when I hear you as DJ or see you as DJ, because you play very broadly. You're, of course, very jazz at that. I've become a tone. You're really good at jazz, at being a'm a part of and have been a big passion, but you have all kinds of funk and soul and commercial job. You play too. Yes, yes yes.
Speaker 1:We started a little in the pure pop music and almost melodic music and then it goes up from there and ends in something that's scary today, where you have already been down there.
Speaker 2:I've always been alternative. I have not been anything else, and maybe because I have been so insistent so it worked for me. But I don't think you should underestimate the fact that when I started working as a DJ, first of all I'm not very good technically and secondly, I've never looked at a club set no, no At a club. But I have a name from Danish Radio where I've consistently dealt with alternative music, and what happened on Danish Radio back then was that everyone came to a reporter course, that is to say, you learn to work with microphones, with sound and long distance close distance, and so on.
Speaker 2:But also when I came out to be a DJ, people knew me in advance from.
Speaker 1:Danish Radio you always get a little longer line or line. It's called Line Line. Yes, exactly.
Speaker 2:And I did that. When I first came to the Danish radio, you get a DJ course and then I was offered that I could play myself. Yes, and then I looked at it and said, well, I'd like that, because I thought I can do that. Then I know how the technique works. And then it turns out. I'm actually one of the few who ever played the records themselves.
Speaker 1:There was always one next to you who put it on.
Speaker 2:I also always had technicians on and that's one of the easiest tasks because they were always just making levels. So I played my records myself and have done it through all the years, and it was only Jørgen Mylius who did it, and it was Christian Flaustad.
Speaker 1:Yes, only those I could get out and hear.
Speaker 2:Yes, because they also had a completely different dynamic and they knew exactly when the numbers ended and when they started. They had a completely different, different hands-on sense of how the De havde en helt anden, anderledes hands-on fornemmelse af hvordan pladerne var.
Speaker 1:Var det journalister, de andre I stedet for, eller hvad var det? Nej, det er jo ren uvidenhed. Jeg spørger, jeg tænker bare om det var det.
Speaker 2:Mange af dem altså generationen før, altså den generation som Hans Otto Bisk.
Speaker 1:They were school teachers, so they were good at mitigating, and they didn't necessarily have anything to do with music.
Speaker 2:The generation I belonged to.
Speaker 1:they were musicians, they were passionate people about music who sat as waiters in that period Without us having to sign anything, but I think that's a bit of a problem today there's no one who knows anything about music and the next generation that came in.
Speaker 2:they were journalists. They wanted to be journalists and that was what you had to have the playlists for to help the strong journalists who didn't know anything about music.
Speaker 1:And then comedians afterwards, and then comedians. So I don't know where we are right now, because I don't hear radio anymore Now. It's a mix of all kinds of different things. Didn't you miss the time when people knew something about music?
Speaker 2:Yes, Is it just?
Speaker 1:me who has gotten a little old and angry. I don't listen to the radio anymore Because I can't go out and listen to the radio, partly because I don't want to hear that gangsta pop music. That's one thing, but I also think they know a little about what's going on.
Speaker 2:It annoys me a little. I have some decisions that I think, okay, she's someone I'd like to listen to.
Speaker 1:Of course there are some. It doesn't always happen all at once.
Speaker 2:So I also choose my fights with the different ones. But the strange thing is, it's also because I work so much with music. I never have music in the background. I never listen to background music. I never have music in the background, for example. I never listen to background music.
Speaker 1:That's what I have. I always have music. Yes, always yes.
Speaker 2:And I can't do that because I sit and work with it and I say why have they done it that way? I'm always sitting and improving my knowledge.
Speaker 1:Yes, I think so too.
Speaker 2:It's so pissing, annoying it keeps me from writing it and saying it to someone.
Speaker 1:I can't let go of the thought that they could just Maybe that's why I don't listen to the radio anymore, because then I just say something.
Speaker 2:I get annoyed by it, all the mistakes people make. I make mistakes myself.
Speaker 1:I love mistakes. I like mistakes myself. I love mistakes. It's not that much of a thing. I like mistakes Because you say something wrong and that's fine. Yes, yes, but it's more that I think it's about the music, that I think there's something better than what you present. Yes, that's a bit sad.
Speaker 2:Yes, why don't they play that song? Because when, when you've just played the previous one, it would be uplifting to take that one, because the guitarist from there is in love with the bassist from the next number.
Speaker 1:Yes, or him who has produced it has actually made a record that is more fun than this, or something like that.
Speaker 2:Yes, or another number that would be uplifting for you and so on. It's probably a business damage.
Speaker 1:Yes, it is. It's a business damage.
Speaker 2:Some precautionary measures. I always listen to P1 or to radio podcasts, but I would say podcasts. It's also difficult to find good music podcasts because I think they often suffer from the same problem that it's a little snickery back and forth Like us. Yes, I think we already, because it's actually bit of a snickery talk back and forth Like us.
Speaker 2:Yes, I think we already, because it's actually a professional talk that you have with many of the people you have in, and it's also about going deep with why was it actually like that, why do you do it that way, why couldn't you, and so on.
Speaker 1:So it's about going much deeper in depth with some details that you never want to take time for under other circumstances. I couldn't see or hear people pulling. That was really annoying. I said I would like to do something where we talk, whether it could hear the track or not. That's fine.
Speaker 2:But we only talked for an hour, as if we sat down and got a cup of coffee and then sometimes there are things where you think, okay, that detail should have been checked out, because that's interesting and how was it? If you put those two things together, then it expands my perspective on why it developed as it did. So these calculations are often missing when it's cut hard. I'm one of those who have cut really, really hard.
Speaker 1:Really.
Speaker 2:Yes, I was a minimalist for a semester and I can hear some of my old things from the 80s and the mid-90s where I think it's fine if you have to make a quick introduction to some things, but it was because we could do it. We could produce as hard as we did because there were interviews. There were interviews and other places, so it was just our take on it, but all other places you could follow the stories. If it's today, then you would often be alone with exactly that story.
Speaker 2:And you can't follow it elsewhere, because now the demand is as big as it is with exhibitions and artists and so on.
Speaker 1:How do you do it yourself? Today? You still have your private program, netsvermer right.
Speaker 2:Yes, but it's a DJ program.
Speaker 1:Yes.
Speaker 2:And that is. But where you also talk, you can say when I also talk yes, but I have never really spoken freely from the liver Just because I want to have that strength, so I have almost always written something that looks like a manuscript. Oh, you have? Yes, I have, and I have six minutes recording to two hours of music.
Speaker 1:Wow.
Speaker 2:And that is with. I mean, if I make some omtakes and stuff, then it's maybe four minutes of music or four minutes of talking. I have to 157 minutes of music or to an hour and 57 minutes of music.
Speaker 1:But you've written it all down.
Speaker 2:Yes, more or less.
Speaker 1:And that made you In the 80's you became really good friends with Kim Schumacher. Yes, you came to make something together with him, just to touch it a little Now we were on the radio and wrote manuscripts because that's what he did too. Yes, exactly when we all thought it was something he just had to erase.
Speaker 2:Kim and I, we had exactly the same work method, and he discovered that too, and that's also why, when he went to New York and made radio broadcasts from there, or and then went to New York to make radio broadcasts from there, or recordings from there, so it was me who cut them, or rather, I cut them with a technician but, I, understood his musical language because, even though I might have played heavy metal for 60 minutes, it was the same technique I used with attack and attack.
Speaker 2:It was the same form and the same form and the same complexity, and you used exactly the seven seconds of foreplay there was, and not more and not less. It simply had to fit, or else we'd have strapped it a little, or whatever else we had to do. So we were, form-wise, we were identical twins in that way.
Speaker 1:Is it a bit at the same time you start on the radio?
Speaker 2:He starts us about a year before, but we're on some of the same courses together, so, apart from he's on the list of participants, he just never got up because he was busy.
Speaker 1:Yes, exactly.
Speaker 2:But he was better than all of us because he could trick the technique quickly.
Speaker 1:And that was good for him, and he had a style which was also probably much what he came up with?
Speaker 2:Yes, exactly.
Speaker 1:And then he had some content that we didn't have which was unique, and was it the lie, like yours, or was it research?
Speaker 2:He had a lot of research on it but that was because he did all kinds of other things that actually got into the club culture and into the music as well. But he hasn't seen that the truth should stand in the way of a good story.
Speaker 1:No, no, that's it Print the legend, or what is it called? Isn't that right? Yes, well, how funny, katrine, because you've been working together for several years. Yes, and you end up in his. Yes, I know, I know, but you end up in one of his TV programs. Yes, I don't know, but you also ended up in one of his TV shows.
Speaker 2:Yes, oh my God, I think we made six shows.
Speaker 1:In fine stevedesse clothes almost yes, and captain's clothes yes, there was a lot.
Speaker 2:Yes, the brown HT uniform.
Speaker 1:That's right, that was there too. What did it look like For those who didn't know?
Speaker 2:No one found out. So, that's why the show was put down, but it was in reality a copy of David Letterman's show.
Speaker 1:Yes, it was a talk show, an American talk show.
Speaker 2:Yes, and it was him who introduced the script in Danish entertainment. He tried to make a very popular version of it. He didn't succeed very well with it because he wasn't very popular and he actually had problems with improvising when he for example, had to make an episode or tell something, he wrote everything down beforehand, and everything I do is written down beforehand.
Speaker 1:That's a little funny. That's what I actually found quite interesting.
Speaker 2:Now that we've come to that, yes, and the funny thing is that when Kim Schumacher makes his last program, which is the Labyrinth, he doesn't have the manuscript with him. He has a stick and he talks to people. And it's in that moment where he talks to people where he gets the most crazy looks out of it, because he takes a hit on people. People know that's what he does and they're on it.
Speaker 1:And then he's right there, because he's right in the line and he's right in the head.
Speaker 2:But that's where I can recognize him, from the way he was when you just met him on the street. He was always funny and he was right in the line and he was well-formulated and he was super sharp.
Speaker 1:And sometimes.
Speaker 2:I also hit him a little.
Speaker 1:Yes, yes, that's what everyone does, but he gave him.
Speaker 2:Yes, but he was always right.
Speaker 1:And that was the worst of it.
Speaker 2:Yes, it's worse.
Speaker 1:It hurts even more. Oh yes, I think it would be fun to have made a program like that, first with him, but then with the fact that both of you are. So what is it so focused on that? It should be written down the whole thing. It must have been a bit heavy actually to make an entertainment program where all the lines are written down. It has been a half-movie delivered instead.
Speaker 2:Yes, and it was time-consuming, but, kim, he worked. I had the feeling days around I don't know how much he slept and he wasn't on stimulants. I've never seen him drink, for example, so it could be that he might have been on some other stimulants. I haven't been able to confirm that.
Speaker 1:No, it's just as good. It's something people themselves are allowed to order.
Speaker 2:But he was fantastic, just as he was, and that's also fine. He has left it a very fine mark.
Speaker 1:Yes, that's what you have to say In many ways. And his name still lives on. We're sitting 40 years later and talking about it.
Speaker 2:He said 35 years later. Yes, he would have been 75 years old, 74 or 75. Which?
Speaker 1:is not any age today. No, it's pretty crazy.
Speaker 2:He would still be still a good man if he had lived today.
Speaker 1:Yes, I think so. Unfortunately it didn't go that way. No, how, Katrine, have you used some of the things he did? Because it's right around there. When you did that, Then you become a DJ. I'm a little doubtful about Kim DJ at all. He was just a radio and TV guy. Have you used some of the things you learned in that period when you were out playing? I'm thinking musically or something like that, because now you're very jazz, you're a little high cultural musically. Yes, I am. I'm not saying you still aren't, but you've always been in my eyes, at least.
Speaker 1:Yes, that's right.
Speaker 2:And I'm just thinking are there so many cultural jobs to get at this point in?
Speaker 1:time no, but now I was known for Danish Radio.
Speaker 2:Yes, I know that it's a damn good thing to have.
Speaker 1:It opens up really many doors. I'm just saying my few time points gave me better paid jobs.
Speaker 2:Let me just say it like that it does. I know it well. I played a whole lot of techno to start with, but I was good at mixing and that's what you should do with techno.
Speaker 2:There is a Al Lindrum, an Austrian DJ, who made some secret parties in the harbor in Aarhus and I was invited to play Techno Fest and I did and I thought it was fantastic and I tried to mix it and it sounded great but the numbers were good. But then the police came and shut down the party and I'm standing on a platform there, ten meters up in the air, and the current is taking and I'm standing with my plate and how the fuck am I supposed to get home or just get down.
Speaker 2:And that's where I thought, ah, okay, I think it was pretty funny that thing with being locked down and escorted out of the police.
Speaker 1:Yeah, there was something.
Speaker 2:That could really be something. I think that's what I wrote on my TV. But I think the problem was a little. It was primarily that I couldn't live up to the formats that were on a dance floor. I couldn't mix, no. And then I made a decision to seriously say I'll start with jazz, because all the funky jazz, like Jacob Astor and stuff, I knew that and all jazz I knew that and I knew how people danced to it. And then I know on Danish radio there are people I know, actually Jens Rasmussen. I knew because we both went to University of Odense and that was the time when the big belt was there, so we sailed over the belt.
Speaker 1:You pulled it back and forth, we pulled it back and forth.
Speaker 2:And Jens Rasmussen came later to work at the jazz edition at Danmarks Radio but he also knows Niels Fisk Pedersen where they have worked together on local radio and those two simply thought that jazz, where the acid jazz for all years stuck to itself. They had simply made a Sunday hanging club at Jazz House in Copenhagen With massage and juice bars, and there were visual artists who had to come in over and Sunday poets and a Sunday pianist. We've had all kinds of different people come in over and then I meet Jens Rasmussen who tells me about this fantastic concept they have. And they were then those two DJs and such and I said I would like to be a part of it. And then I simply called in and said now I'm a part of it as a DJ.
Speaker 1:You forced yourself into it.
Speaker 2:I forced myself into it simply.
Speaker 1:You snubbed and snubbed again. I snubbed myself into it, simply.
Speaker 2:I mean, I'm completely blue, I have no boundaries, and that made us experience. I meet a lot of jazz people, for one, I meet a lot of artists. I meet a lot of jazz people for the first time. I meet a lot of artists. I meet a lot of poets, all this culture of alternative people. I completely get into that and love it from day one Because it looks like the background I come from.
Speaker 1:Yes, it's good to say, david, it's what you've grown up with.
Speaker 2:And then, of course, it happens that Jazz House begins to be very effective around having DJs at clubs in the evenings. So there I get some of my first decided club jobs, okay, and that lasts for a year, or maybe three quarters of a year, or something like that. Then I get fired on my phone call With the excuse that I played too much jazz.
Speaker 1:On Jazz House.
Speaker 2:And that's also something I wrote on my CV. I think, it's a shame.
Speaker 1:Yes, I think on Jazz House you play too much jazz.
Speaker 2:Yes, but that's also where hip-hop started to become really popular and people started playing 50 Cent and stuff like that. No, that's not my thing, that's not your thing, no.
Speaker 2:But then I started playing all those different places, like the Benin Republic in Nørrebro, which is a salsa, et tango-sted, Men de har også jeg spiller jo en masse latin, for det er en del af jazz-tingen. Så da tager jeg derned og spiller en masse latin-ting. Jeg kommer ud forskellige steder, også til nogle festivaler, og spiller masser af bossa og latin and so on, and then and then, at a time when so I started to become very aware of the fact that there are DJs around different places who do different things, and it's actually quite interesting to keep an eye on where you have a main floor and then you have those small side scenes where you can jazz out and do weird things.
Speaker 1:Yes, where you sit and have a little fun instead. Of.
Speaker 2:The jazz festival begins to have a whole department that simply deals with what is more rhythmic and more dance culture oriented, but it is jazz music, or jazz has jazz roots. So Incognito, for example, the English jazz funk band comes and plays.
Speaker 2:We have some Danish orchestras that play some of these different things Blackman, thomas with Remy and Alagami and so on. All that mismatch. I become a part of it because it fits with all that DJ thing too. And in 98, 96, 98, 96, we have the Culture Year in Copenhagen and I met an Italian DJ who lives in Denmark because he has a child in Denmark and he goes with the plans to make a club where you play exactly these different things and that just fell. He also started playing jazz in 2008. He doesn't get fired because he plays too much jazz. He can make that transition from jazz to what was Marmaris and Funk, and so on.
Speaker 2:And he then comes into contact with some of the people who are on Rust, who was a rock club at that time, some of the people who are on the run, who were a rock club at that time and they are fucking tired of all that rock segment Because all the bands that play there they're all fucking rock stars.
Speaker 2:As they said, we're trying to make it more of a club. They had indie DJs that played in there, where they played indie music and where there was a dance hall. But if they could start changing the music profile, then some of them would also suddenly come in, and that's where DJ Tony M he's doing Vibe Zone. Yeah, I'm not allowed to be a part of it.
Speaker 1:No, and you're not forced to be a part of it.
Speaker 2:No, I'm actually invited in and it's only because I'm good enough and we became lovers at that time. So it's hardcore. I couldn't lie to myself and I become a member in 1999 or something like that. Yes, and I became a DJ in the band. One of the others was Lars B From oh, what was it called that orchestra?
Speaker 1:Lars Bjarne oh yes, they were called Druma Sound System right.
Speaker 2:Yes, he was also in there. Yes, exactly, and he.
Speaker 1:And still does.
Speaker 2:Yes, and he is a genius DJ, completely crazy. And those two they played and controlled the whole, and Rust had got all kinds of other DJs over. It was Thomas Madvi and Lima and there was Rasmus Schack was also over, alindum was also in over. Alindum came actually also in over there and they oh, but there it peaks a little Rust isn't that what you think at that time?
Speaker 1:It's something we suddenly hear about in Jutland that Rust exists.
Speaker 2:I think and they get all the right DJs in and they get a fantastic audience in. We have a a club for four years, yeah wow. And play, I mean bossa and latin and funk and some hip-hop stuff and jazz, lots of jazz. So we've had four years at this place. Yeah, that's insane.
Speaker 1:And that's also In a pretty commercial time right.
Speaker 2:Yes, and where I suddenly also discovered that you can beatmix and I simply get the routine enough. And then I try afterwards and I get some contacts in England. Tony M actually made an English club in Rust with ACI Jazz.
Speaker 1:Okay, I didn't know that.
Speaker 2:With the jazz club from London. Some of the really heavy guys made a club there and he played there in London and we were there over several times. I never got to play in London but we had contacts so I got a whole lot of plates I had more contacts in Germany?
Speaker 2:Where? But we had contacts so I got a whole lot of records. Yes, exactly, I had more contacts in Germany, where I also came to play around different places in Germany. I was on tour in Sweden with Swedish bands. Sweden was very much my area. Yes, and at one point I actually considered moving to Hamburg because there were some clubs there that simply looked for international DJs who could play and Tony had a school-signing child at that time.
Speaker 1:Yes, it was like it didn't fit.
Speaker 2:Yes, we had to find out what we could get into, but it just didn't work out. No, but we had the considerations to do it. We searched for different places and were also in the process of meeting. It was really fun.
Speaker 1:It's often what happens. It's what happens with family and career. I've always been. I stop myself a little when my career peaks. I don't mean a career in that way, but because I chose to say I would like to be with my family. I didn't want to travel the world anymore, as I had done for 10 years.
Speaker 2:I think most people take that choice actually.
Speaker 1:And that had something to do with all those I saw who had done it. They were quite lonely, I felt, and they sat only with their record collection.
Speaker 2:Yes, they still do I have fortunately record collection now, but I also have my family. But we have some friends. I also have family. Yes, that's it, and that has meant a lot to me that it didn't turn out to be more.
Speaker 2:It could also be that I wasn't better, I don't know. But in any case I think I have achieved so much I could, but I dare not take it. I dare well take that step, but it DJ also during the weekends when the baby was there. So I chose to say in 10 years we have to make this work as a family.
Speaker 2:So every other weekend I was at home baking balls and making sure the kids were fed with butter and got food and was happy and did all the practical things about it so that dad and son could be together, together without them having to do everything differently. It's the best investment we've made as a family and it was reasonable to do. You have to do it.
Speaker 1:It's not for me to be free.
Speaker 2:There was no discussion at all. There was no discussion at all and I thought well, being a DJ, I got a lot of jobs all the time, so we just screw it up when we can. Yes, exactly.
Speaker 1:And when he became a teenager boy.
Speaker 2:he just came along and was a part of it and was sent home when he got tired. It worked. It always does.
Speaker 1:Our little one was with us. I was on tour in Brazil.
Speaker 2:He was only 10 months old.
Speaker 1:And sat behind the scenes in the clubhouse and slept with a balloon on the three hours I played with a big earpiece on. It was a pretty nice day. I have some pretty cool pictures. It's pretty funny, so it can be done, it gets a little harder when there's school and all that.
Speaker 2:But was there understanding for it back then?
Speaker 1:It has been quite unusual.
Speaker 1:Yes, but the funny thing was that I actually went to play this tour in 14 days where Puxer went for early birth Two months too early, so I had to go home. I had just landed, I got back and released the whole tour and then I came back ten months later and had the whole family with me. It was like People understood the story there at least. Wow, now the little one is with me, so the story was good enough. I just hadn't dug up. I had just actually traveled to both Rio and the whole thing to play, but I had to go home the same day and that was my decision. I can remember that time I decided it shouldn't be this. It was fun to be, we took the whole family with us, both children and everything, but no, it wasn. It shouldn't be like this. It was fun to be, we took the whole family with us, both children and everything, but no, it wasn't like this. It wasn't like this.
Speaker 1:It's like this and the fact that you say you could relate to and to the job. We both get older. Is it still easy with the job? Yes, you still have some radio.
Speaker 2:Yes, but I don't get anything via radio. No, I get it by playing in many different places in all kinds of different collections Over the years I've. I can go out and play jazz, I can play bossa, I can play funk to the dance floor.
Speaker 1:You're very broad, as I started saying.
Speaker 2:Yes, I'm up in Boogie Night where I play vinyl with Frank Ruehle. We've done that for 10 years 30 years with Vibe Zone, even longer with Yo Bebop, which is the jazz combo from the old days. We still exist. We don't play that often.
Speaker 1:No, but you haven't gone to a solution.
Speaker 2:We haven't gone to a solution and we still have contact and we hold each other very much. Yes, but also I also experience that I get again some small hugs to the CV. Now I have crossed it off, For example, that I have to play a solo job on the plane in Tivoli in. August On the poster and everything. It's completely crazy.
Speaker 1:I've tried it myself. It's pretty cool.
Speaker 2:It's pretty crazy and it's probably only a team, but it really requires that you make a selection and you prepare yourself and you do everything possible.
Speaker 1:I'm in on what you're doing Because I just went today. I always go on a trip in the morning and I did that just before we met today. And then I heard a mix you made. Yes, I don't know if it was live, it's just as a rule. From God Goes Deep.
Speaker 2:You've played it.
Speaker 1:Yes, it's live and I can hear that you have used a lot of time for that. I'm sure I'm sure you have used a lot of time for that, because it was really good and the right mood.
Speaker 2:I can do that. I can hold a mood and a tone in my head for more than 20 seconds, and that makes that I can look for numbers. Or sometimes I hear numbers where I think that one exclamation isn't that the same tone as yes. And I haven't absolutely heard it or anything like that.
Speaker 1:That can be good.
Speaker 2:But I can, and that's something I've learned by playing as much as I've done. And it's also with house numbers and stuff. When I mix I know when a tone comes that doesn't fit, but I'm out of the previous number. It's good that I don't play something that is in tone or harmony, but I always manage to get out of the tones that are disharmonic and where you think, oh, that's a real DJ mix.
Speaker 1:There's one who doesn't know what to say who doesn't know that there are two tones or that there are different tone types?
Speaker 2:And that's what I like to mix myself out of.
Speaker 1:I'm just thinking about. It's more about what you said. You've made manuscripts and things. I felt, when I heard this mix, that you and I have corrected you.
Speaker 2:Yes, that's what I mean.
Speaker 1:You had decided what you were going to play, because there were some sequences with a choir and stuff that goes directly into some violins. I could just hear that. You can't just find out about that.
Speaker 2:No, I have to correct it in some way. But it's not like I'm standing like this, saying right on this number I have to do this, or right there. I play a lot more on the feeling and sometimes it goes wrong, but very often I get gifts from it because I take some chances and that's what you have to do. And I do that when I play for Dansegul. I take some chances, but also by choosing some numbers that are wonderful or making some strange transitions Sometimes it's good and other times it's bad.
Speaker 1:I've tried both and they've been really good. I've tried to make, when I was out playing a three or five-hour set abroad and simply put it in a system and said this is how I want to play. And simply put it in a system, saying this is how I want to play. It has sometimes been insanely good because you have the courage to play the songs which were difficult to play, because you knew they were built up to them and you knew what came after. Yes, exactly, but I have also tried. I actually always try to choose the first number and the last number, and then one or the other obscure record, obscure track I want to play against, and then I just fill in what I want to do. I also like it when it's in the evening, but there's also something to it being prepared.
Speaker 2:I think, especially when it's performance-like for example with Plane, you have an hour where you can't just try it very slowly and people think that's what we're going on about. You also have to make some suspense in it and think where does she want to go with this? We know the song but we don't know the version. How is it going to be? We just have to follow this and I also think that you have to experience that you fight. You as a DJ, fight with things.
Speaker 2:It's the performance part that I find interesting, and I'm not afraid to make mistakes. For example, Because, I think I'll throw that one home. I play good music so I'll throw that one home. I always make a pre-selection. I have many record jobs. I play vinyl almost, I think, 50% of the time in Øjebygd and I always make a selection because there are limits to how many records I can make.
Speaker 2:That's it. Limit art is a good thing to know. It's much more difficult when it's digital, because you can basically take everything in, yes, and if you just let yourself be inspired in some way, what kind of number comes after that? I can never remember. I can't remember titles.
Speaker 1:I can't remember yes, I can't remember Katrine, and I can't find it on the awful USB. I have no and and there are 3,000 or 4,000 numbers on it. I can't find anything, but I'd rather just have 80 records with it.
Speaker 2:Yes, and then sleep a little right, and then maybe I can't read more on it.
Speaker 1:That could also be it.
Speaker 2:No, it's something with my memo technique. Yes, it's different. So I still do what I do, Especially when I have to do certain jobs. I do a price selection, which is maybe three lists of 100 numbers each, Because then I know there are some of them I can scroll through, I don't need them, and then I have some secret things that I can use. And then I know I've always suddenly come to think of this atmosphere these numbers.
Speaker 2:And then you play, even though I play really weird things sometimes. It's also here where I play Elton John and Kiki D with Don't Go Breaking my Heart, because that's the one who needs it?
Speaker 1:Yes, exactly. We've talked about you having snitched several times. Have you ever played a? Yes, exactly. Now we've been talking about how you've snitched several times. Have you ever premixed or played?
Speaker 2:anything.
Speaker 1:Never, no, never. I've done it once. Yes, it was awful. Yes, never have I ever stood on such a. It was a huge scene and where I actually, for the first time in my life, got nervous what if the mix isn't sitting there? There was a lot at stake, I thought, so I pre-mixed some of it, but after 20 minutes I realized that I had it was with.
Speaker 2:CDR.
Speaker 1:So I burned two CDs that had the same mix on them, the same mix that started at the same time, and then I stood there and sounded like I. The first 20 minutes I screwed up and down. I thought I'll just have to calm down because there was a walk in. So okay, this is not going to work.
Speaker 2:I've never told anyone about this, but now I'm telling you. But it becomes really static, completely insane, and there's always someone who discovers it.
Speaker 1:I got it so bad. There was a quarter of a minute and I thought this is not going to work. I was thinking this is not going to work. I just wanted to run with what I could.
Speaker 2:But that's the only time someone has done it, and I've never considered it, because I've seen how it can go wrong. I was at, I was playing at Boldenskov and there was a guy before me who played, who had played a pre-enactment, and that was that time. And he couldn't do it himself, he became a DJ and and he was quite outstanding.
Speaker 2:But he couldn't mix himself so he took one of the mix ideas that he could get and then he pretended that it was him who played it and I was standing next to him and I thought there's only one CD in it.
Speaker 1:It was a little funny.
Speaker 2:And I thought, if I can see it, then everyone else can see it. Yeah, and we've all seen those different videos where people are standing and shaving and doing a show, yeah, yeah. But the music is completely static. Yeah, yeah, completely static.
Speaker 1:But I also got scared when I was half way through it or during a short time, because I could feel that it wasn't me. But I was just a little nervous for the start to be good at this.
Speaker 2:I think that was mostly what I was.
Speaker 1:I have to be sure to get through it.
Speaker 2:Yes, you have to control your nerves, but I can understand that Because I also have that with me. I always have some starters that I can work with, and then I always know how the atmosphere is, so I can move in some different directions and sometimes I can simply say, okay, this is not at all something. We can't start with a boss number here. We simply have to start with Elton John and Kiki D for example or whatever it is, but the fact that you've prepared yourself it makes you have a certainty, no matter what.
Speaker 1:That's right. That's also why.
Speaker 2:I've prepared myself all the time.
Speaker 1:And then my goal is always to play a. It's such a funny expression which we made a song about once in Magga and Mejland, or it was called something else which is called From Wook to Grave. It's always my goal in a mix and when I play a job it means it has to start all the way down and we have to be all over the place until we end up in some kind of solution. It's funny.
Speaker 2:Yes, I think it's a pretty good dream to have. It should be.
Speaker 1:And then I always have, as you say, some easy transitions. In the beginning it always gets more complicated, but I always start with some records that just can. They don't have to be beatmixed, but the tone by just putting them in. Then the transitions fit. So you slowly get warmed up with the audience.
Speaker 2:And you have to play with things. It has to be fun.
Speaker 1:Yes, it has to.
Speaker 2:Because it also plants itself to those who are in the room. They can see that you are having fun with it. I never use the sink button when I play the guitar.
Speaker 1:I don't know how to do it.
Speaker 2:No, I'm always playing with my hands.
Speaker 1:Yes, I do that too, and I do that too.
Speaker 2:Sometimes it mixes in pieces Exactly, but people can see that I'm working on it and it's also and I don't do that that I grid it all so that everything starts the same way. So I'm really on it. If something goes wrong that I can't hear If I, for example, can't hear phones, it. If something goes wrong and I can't hear If, for example, I can't hear phones, or if something goes wrong, because then the number starts in all kinds of other different contexts and a completely different rhythm. So I can't just blind test it or deaf test it, and then I can't do it that way Then I have to fade up and down, and that's what I've experienced.
Speaker 1:I've just slugged one at a time and then I cried in the middle. I never got it to fit.
Speaker 2:No, not at all, it's just what happens at a time? Yes, and then there's also the basic form. One day form can be problematic. Yes, there can be anything.
Speaker 1:And that can also be. Now you say that you can see the joy in it. I think for my knowledge it has in between been a job beyond just the passion and joy. Have you experienced that too, where you?
Speaker 2:think here I am I just have a job, yes, and when I'm done right, yes, and in two hours I just have to survive these two hours, yes, of course. I think all people have experienced that. I've just had the opportunity, that when I experience it, that it's there, that's a signal for me that now I just have to take it easy, yes, and now I just have to take a break from those very difficult jobs.
Speaker 1:It's the commercial jobs, it's the ones that are the hardest, but it's also the ones that have money in them.
Speaker 2:Yes, but then I have to suck on the lab in a period.
Speaker 1:Yes, because I think that's been difficult in a number of years before, where it went up in the air, where it was the artistic expression. I had to travel, make music and all that stuff, but I still had to play those company jobs for big money to get to the house. But I really had to. And today I can't. I say no to everything. I can only play at Løst today, and sometimes even at the bar, even though I love to play there at the bar, I though I love playing there at the club. Then I sometimes on the day call and say, can you not take it? Because there's just suddenly a job. It could be because I've had to deal with all kinds of things during the week, not at the club, but it's pretty insane when you have such a big passion, that it can be. You should have thought when you were younger, when I was younger, I would put them up and play, no matter where they are, and I thought it was fantastic.
Speaker 2:But that's not the case today for me, you have to pay attention to that desire. I have taught a number of young electronic composers how to manage their careers when they are done with studies, and something I tell them is the most important thing is that you keep your desire to work with your profession, because it is extremely important. It is one of the most important. All the practical things, all the technical things, that's something you can learn, but you can't learn to have desire. It's something you need to have in you and it's something that requires strength and it's something that requires attention on what it is you're doing.
Speaker 1:And if you lose desire, øhm, øhm. Opmærksomhed på Øhm.
Speaker 2:Hvad det er du gør. Ja, og det skal du. Det skal du. Hvis du mister lysten, så mister du eksistens. Øhm For at Arbejde med det du gør.
Speaker 1:Jamen, det er jeg fuldstændig enig I, og det har du. Har du gjort det på?
Speaker 2:noget tidspunkt Øhm.
Speaker 1:Jeg har haft Det har. It's not music man.
Speaker 2:No, I've never stopped.
Speaker 1:It's hurtful.
Speaker 2:I've never stopped, but I've in periods held on to some of the fixed tasks. I've played at some cafes and bars hotel bars, for example and I've been able to hold on to them and try to play some new things, because it's there where fast, I and and and and and and, and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and and. On everything you can hear on the radio, they would like to hear some strange things, some of the things that are not necessarily number one or two or three hits Exactly. So there I have been able to what should I say? Reinvent myself several times, and then I have allowed myself to take, for example, private jobs or company jobs. Company jobs are the most difficult because it's cool cash case it's about and you just have to mark it right, and that suits me very, very badly.
Speaker 1:Yeah, that's. That's not a top competence for me. Let's put it that way.
Speaker 2:But I would say that I know a lot of people who book for these firm arrangements. They know who I am, they know what I do, they have experienced me before and they know that they can talk about what is going to happen and what their audience is used to hearing, because that makes them able to pray for their audience so that they are prepared for who they are.
Speaker 1:Are you?
Speaker 2:more in sync, actually, or something, and I'm also prepared for so. It can be that I have to play this or that, but I can always play some. I can always be myself. That's a fantastic thing.
Speaker 1:That's the most important thing. It takes many years. It takes many years to get to that.
Speaker 2:And then I don't have any bookers. I've never had a booking agency. I've never had a booker Because as soon as I have a booker, all the jobs go down, because it's people who want to be a.
Speaker 1:DJ. They don't want to be a.
Speaker 2:Katrine Ring. They want to be a DJ.
Speaker 1:Yes, then I've been different Because I? It's different because I've never had a booker, but I had when I was Peter Visti, if you understand me right as an experienced artist, as a DJ, as him who made music Then I had a booker, but then you also got into a lot of different elements of the industry.
Speaker 2:It was something completely different, because it was the whole world.
Speaker 1:I had a manager and I had a booker in Berlin and one in San Francisco to book.
Speaker 2:It was pretty intense at that time you have to have the whole network if you work at that level. I've never worked on that. I've always worked on those alternative scenes. It's always been the bookers that have been it's been people who were. Djs at the clubs where I was supposed to play. We were same same. It was much easier. There's never been a lot of money in it.
Speaker 1:No, there wasn't because there was a lot of money in it. It was not like that, but it was a different career, at least than where I have booked myself Since then. And Katrine, you said it yourself you are 63 years old. Yes, how long will Katrine Ring be with you? What is it like I? You're 63 years old.
Speaker 2:Yes, how long will Katrine Ring be? Who is DJing? I'm still working.
Speaker 1:My career is peaking Right now it's not peaking my career, I get some jobs where I'm also paid.
Speaker 2:But you've also become better. I've also become better.
Speaker 1:Yes, that's for sure.
Speaker 2:I'm okay solidly technically and I can mix classical music, for example. That's the worst that can do because it's fucking hard yeah, so you have some background.
Speaker 1:I think that's something I like, compared to the young DJs. I get a little irritated when you can play two hours of one kind of music or something. But let's hear some background music. When you hear something new, hear some different. When you hear a new song, you hear different things. It makes you a better DJ than you were before.
Speaker 2:Absolutely, and it also makes me always be able to get into a situation. It's rare that I experience that people are dissatisfied. It's maybe people who, if they're finally dissatisfied, then it's usually like you didn't play right why, but it's a classic.
Speaker 1:You can't satisfy everyone, and you shouldn't.
Speaker 2:No, but I always make agreements before. Send me some songs that you want to dance to, not your friends, because it's your birthday Send me some songs that you want to dance to, Not your friends, because it's your birthday. Send me some songs that you want to hear, because then I'll move them into a collection. Then I also have a sense of what kind of musical DNA it is. But my career at the moment it's peaking, I must say it's fantastic.
Speaker 2:I have a lot of small legs which I've cut off. I simply don't have time for it anymore. It I have a lot of small legs which I have sucked up. I simply don't have time for it anymore. It's cool. Next weekend I'll be playing five jobs.
Speaker 1:Yes, that's awesome. That's what I say when I follow you on Instagram. You play all the time.
Speaker 2:Yes, and it's from North Zealand to Marie Løste. It's fantastic, I can also drive a little car.
Speaker 1:It's fantastic, Katrine. Well, we're almost done, unfortunately, and I've asked everyone about when we're going to leave Buried to the ceremony or whatever it's called, how to bury yourself or at least leave, Whether there should be music and I think there should be some music for you too, and maybe a little high culture or what.
Speaker 2:Well, I would completely overlook that for Tony M.
Speaker 1:Is that right?
Speaker 2:Yes, we live together, but we're not lovers anymore. But we live together and he knows me better than anyone else and we're pretty convinced that I die first. Okay, I'm a little older than him. Let's just say it that way die first Okay. I'm a little older than him let's just say it that way and I'm completely convinced that he is the man who can get a proper party and there's drinking, there's eating and it's going to be, fun, because I've lived my life to the fullest, and there are a lot of things that I, of course, haven't achieved.
Speaker 2:You can't achieve it all.
Speaker 1:To be honest, I've achieved a lot of things that I haven't achieved, but I can't achieve it all. I have achieved a lot more than most people. Yes, exactly.
Speaker 2:So there is nothing that I would consider a catastrophe if it is not done.
Speaker 1:I don't have time for more than what I'm doing now. I know that well actually, and it's quite fun to have let's call it, if it's not more ambition or more dreams. It sounds quite scary that you don't have more dreams. I actually don't have more dreams.
Speaker 2:Is that true? Yes, I have a lot of different things I want to do but it's not like. But I've achieved all I want.
Speaker 1:It's pretty crazy. I've achieved what it's about that.
Speaker 2:I can be myself in all the relationships I'm in, and as soon as I experience that I don't fit in the system, then it's just out of the question. But I've actually been extremely lucky so far. But it's also because I'm so clear in my heart I say that's what I want, this is what I don't want. No, that's pretty important and I also say no to jobs because I say there's another one who has to do it. There are some who are more skilled at doing exactly that than.
Speaker 1:I am, but I do that too, and that's what you have to do.
Speaker 2:You have to be clear in the game.
Speaker 1:Then there's a lot coming to one, but in the end it's a party.
Speaker 2:Yes, it's a party for sure, and they have a really bad day afterwards, but that's because of the vacuum cleaner Fantastic.
Speaker 1:And the feet. Thank you so much for being here.
Speaker 2:Thank you for talking to me. It was a pleasure.
Speaker 1:Thank you for listening to this week's Museum and Local podcast Music my drug. I hope you have enjoyed the music's fascinating universe and found inspiration for your own musical journey. If you want to listen to today's guest's list of songs, you can find the list on Museo Lokal's Spotify list on Spotify. I look forward to exploring more aspects of music's knowledge in the coming episodes, which can all be found on Spotify and Podimo. Thank you.