DJ Raw interview (2009)

DJ Raw by DJ Sir-Vere, Back2Basics, vol 3 issue 18 Apr-Jun 2009

Wellington's DJ Raw is a pioneer. One of New Zealand's most experienced DJ's, his name comes up in any conversation about Aotearoa’s finest DJ talents of all-time. From his DJ titles, tutoring at the Whitireia DJ school, to his involvement with the Footsouljahs, Raw has always maintained lofty standards in all facets of his art, setting benchmarks for all that follow to aspire to.


When did you first start DJ?

I guess I started to buy music when I was at Intermediate, tapes mostly. [I] started messing around with records & stereo systems at 14, but got a proper setup - SL-1200 turntables and a BVL mixer - when I was 18.

What inspired you to start DJing?

Lots of things. I was into breaking but wasn't very good. I liked the vibe and feel of the music, but when I was 15 me and some college mates - Kosta RIP - used to go try our luck at trying to get into nightclubs. I had been to a few clubs and seen a few DJ's, then I came across a DJ called Tee Pee, and I have to say he was one of my biggest influences. He was the full package as an entertainer - with perfect beat mixing, scratching, rapping, and he could pop too. Plus he was full of information about artists, music and DJ techniques.

What was your first battle and how does it go?

1989 Numark PPD Wellington heat. I was shaking with nerves, and it was all over in a flash, but the encouragement that I got from people there was really good and I managed to make it through to the NZ finals. The biggest learning curve was trying to handle a pressure of being in the spotlight and remember the routine, because usually all you remember when you're finished is the parts that went wrong.

You won the Australasian title in 1997 - how difficult was it to win in Australia?

I can't say it was hard, and I can't say it was easy either. In competition you try to prepare the best you can, and it was probably the most time I’ve ever had to prepare. I knew to make the finals I would need 7 battle sets and I had about 12, all with the same amount of difficulty, so I had the luxury of being able to save some of what were my better sets for the semis and final. One thing I remember was that the guy that was looking after me in Sydney - Leo Tanio - said ‘these Aussie judges are corrupt - if you are going to win, you're going to have to blow them away’, which gave me the feeling [of what] I was up against from the start, and ended up being really good motivation.

Which title are you the most proud of?

Probably the 1997 Australasian ITF Champs, because it was an international title, and it was the one that took me to the ITF world finals, which was the first real world championships in a battle format. The 2000 New Zealand DMC Champs was also special too. Although I didn't enter every battle that I could of, [it] marked a run of 10 years undefeated in New Zealand for me.

What are your thoughts on the battle scene now? 

DJs need to get involved if they want to keep it going. A lot of DJs practice and say they're going to enter comps and then drop nuts when it comes down to it. I think a lot of guys don't want to enter until they are good enough to win, and when they don't win they don't enter anymore. Nobody is going to win their first time out, but just going in and trying your best is an experience that will set you up for better performances. All you have to do is look at the track record of all New Zealand champions - myself, Sub-Zero, P-Money, DJ CXL, Manchoo, Alphabet, Abbott and Impact - we have all had losses before going on to represent overseas.

What are your thoughts on Serato Scratch Live? 

You got to have it for you will be left in the dust by guys that couldn't even normally mix records and now do it all with visual aids. I was judging at the DMC NZ finals last year, and at the end they got Ned Roy to present first place and he grabbed the mic and the first thing he said was ‘F*** Serato, they are killing off vinyl!’ First thing I thought was ‘what a d***’ cause Serato was the main sponsor of the competition, and a lot of these competitions wouldn't happen without sponsor’s involvement - and second, for me it's almost the opposite. [Serato is] what’s keeping me on the turntables.

Before Serato I would do gigs with turntables and CDJs, and about 60% of the music I was using was on CD. Because if you wanted the latest tracks you could get them, burn them to disc and be playing them about three or four weeks before the vinyl even [hit] the stores. If anyone is killing vinyl it's the record labels. The price to manufacture and distribute vinyl around the world, compared to making and distributing an audio file to the ‘net and iTunes is a no-brainer. So, for me Serato is keeping turntables alive. For a working DJ it's the best - it makes life easy, and Serato just keeps getting better every update.

Most DJs I speak to cite you as a major influence, how does that make you feel? 

It's always nice to be recognised for your achievements, and humbling to think people have enjoyed what I do. I have always thought that you can see DJs on videos or on the ‘net but when you see a DJ doing their thing right in front of you with your own eyes, it's a different feeling of inspiration. I guess having been around for a long time, and played a lot of places [laughs]. Most of my biggest influences come from NZ.

Name your favourite DJs of all time

Internationally - Qbert, Roc Raida, Aladdin, Jazzy Jeff, Cash Money, Craze, Noise, J-Rocc, Total Eclipse. Locally - Manuel Bundy, Sub-Zero, DJ CXL, Manchoo, Alphabethead, DJ Manny (Sydney).

How much are you DJing nowadays?

Nowadays the DJ school is my full time gig, and it’s time consuming. I still like to play out as much as possible, but it’s more like a nice release rather than a financial need. I do a monthly show called Infamous Fridays, and Super Club is always a big gig. Recently I did some cool shows, like NZ Red Hot - that was a huge expo in the Philippines put on by the NZ Embassy and NZ Trade and Enterprise - that was awesome. [I] opened for Chris Brown and Rihanna in Wellington, did the closing ceremony of the Rugby Sevens in front of 38,000, and just finished DJing a play called Who’s Poppin with and actor friend Sopa Enari, and that won Pick of the Fringe Festival and will run again later this year.

How have you stayed relevant after so many years DJing?

I know you never stop learning when it comes to DJing. There is always a new scratch or juggle, so I like to try and understand the technique behind them and, although I don't practice routines any more, I still jam most days, even if it's just 10 minutes. I have also tried to stay proactive in the scene whether it's [by] setting up gigs or competitions [and] trying to make things happen for younger DJs. I think, after 22 years of spinning, music and DJing is just part of me.

What’s the future of DJing?

[It's] hard to say. Music is so easily available and technology changing the game, the future is pretty much down to how you connect the two creatively and technically. Video DJing seems the next step, but at the moment requires a lot of work and high specs on your hardware. Also, I don't think anybody [goes] to the club to watch TV all night.


Titles won by DJ Raw

1990 Wellington DMC Champion
1991 Wellington DMC Champion
1991 New Zealand DMC Champion
1993 MaiFM - Ruff House Battle for Supremacy Champion
1994 New Zealand Disco Mix Competition Champion
1997 New Zealand ITF Champion
1997 Australasian DMC Champion
2000 Central Region ITF Champion
2000 New Zealand DMC Champion