Interview with DJ Irene
Ron: So how did the madness start, how did you get started DJing?
Irene: I've liked music since I was eight years old, and when I was in college I met a guy who was a DJ and I asked him to teach me the basics and he said well you know, what kind of records do you have? I go, I've got a lot, so I wore him down on a paper one night and he said I want you to write down all your songs, he didn't think I had anything and I did.
And the next day I showed him the list and he was a little surprised, OK come down my house, and I just started from there. I had asked a few people before and they wouldn't give me the time of day and this guy, his name is Henry Delopenia, he took the time and that's how I started DJing.
Ron: Speaking about when you first got started, what's the first record you ever bought?
Irene: Boogie Wonderland.
Ron: Boogie Wonderland?
Irene: It was 12 inch honey, OK? And we're not talking about the latex.
Ron: That's a great record to start with, so these days how do you choose songs for your compilations?
Irene: That's a good question.
Ron: Whatever you get licensing on?
Irene: Yes, it's really hard to get licensing. It's not easy because a lot of times there is some kind of legal matter happening. Even though it's a hit song right now, there's some kind of I can't get it or they're switching to it, somebody else buys it, it's not clear yet so I can't give you licensing. It's really hard, it's really hard to get the songs, it's not easy at all because a lot of the companies put it on their own label and put out the compellation.
They pay some Joe Schmug DJ a hundred dollars to mix it, you know?
Ron: Good answer, I like that. Why do you call yourself a DJ Diva?
Irene: Because I am, girl.
Ron: One of things I like about you, your photos always show you smiling - as opposed to the standard grimace/tough expression that are in most DJ pictures. What do you think makes you so happy?
Irene: I'm just a happy person. To be able to live your dream is the best thing that you can do in your life, except having your children and raising them. I think that's, and your career, it's just really important and I just have a good time. I remember when I first started, when I'd go into clubs and dance I always had this smile on my face because I was listening to music and I'm the same way when I DJ.
Ron: And I also read in your bio that you just got your Recording Engineering degree - how do you intend to put that to good use?
Irene: By using it now. When I was going to school, it inspired me to write that song, Pusaka, You're the Worst Thing For Me. It's like you're in that movie Fame, you're surrounded by so much music and talent it just inspires you. And knowing what the knobs do too, it's not just why did he turn it that way? It's a lot of hearing but knowing what you do to get what you want to hear, that's the most important valuable part.
Ron: Do you think the production affects your DJing?
Irene: It's about the same, I mean, you look at things differently and you can evaluate other people's songs and how they did it instead of like wow, that was cool.
Ron: You can actually listen to the track and hear the different layers and see where it comes from.
Irene: Yes, and then you're trying to figure out the sample. If you really talk to an engineer and they heard his name, where's that from? They could basically tell you almost where it came from, or they could tell if it was a sample the way, that it's really cool to know that you can hear that. It's like a doctor you know, dissect somebody's work because you just want to know.
Irene: I've liked music since I was eight years old, and when I was in college I met a guy who was a DJ and I asked him to teach me the basics and he said well you know, what kind of records do you have? I go, I've got a lot, so I wore him down on a paper one night and he said I want you to write down all your songs, he didn't think I had anything and I did.
And the next day I showed him the list and he was a little surprised, OK come down my house, and I just started from there. I had asked a few people before and they wouldn't give me the time of day and this guy, his name is Henry Delopenia, he took the time and that's how I started DJing.
Ron: Speaking about when you first got started, what's the first record you ever bought?
Irene: Boogie Wonderland.
Ron: Boogie Wonderland?
Irene: It was 12 inch honey, OK? And we're not talking about the latex.
Ron: That's a great record to start with, so these days how do you choose songs for your compilations?
Irene: That's a good question.
Ron: Whatever you get licensing on?
Irene: Yes, it's really hard to get licensing. It's not easy because a lot of times there is some kind of legal matter happening. Even though it's a hit song right now, there's some kind of I can't get it or they're switching to it, somebody else buys it, it's not clear yet so I can't give you licensing. It's really hard, it's really hard to get the songs, it's not easy at all because a lot of the companies put it on their own label and put out the compellation.
They pay some Joe Schmug DJ a hundred dollars to mix it, you know?
Ron: Good answer, I like that. Why do you call yourself a DJ Diva?
Irene: Because I am, girl.
Ron: One of things I like about you, your photos always show you smiling - as opposed to the standard grimace/tough expression that are in most DJ pictures. What do you think makes you so happy?
Irene: I'm just a happy person. To be able to live your dream is the best thing that you can do in your life, except having your children and raising them. I think that's, and your career, it's just really important and I just have a good time. I remember when I first started, when I'd go into clubs and dance I always had this smile on my face because I was listening to music and I'm the same way when I DJ.
Ron: And I also read in your bio that you just got your Recording Engineering degree - how do you intend to put that to good use?
Irene: By using it now. When I was going to school, it inspired me to write that song, Pusaka, You're the Worst Thing For Me. It's like you're in that movie Fame, you're surrounded by so much music and talent it just inspires you. And knowing what the knobs do too, it's not just why did he turn it that way? It's a lot of hearing but knowing what you do to get what you want to hear, that's the most important valuable part.
Ron: Do you think the production affects your DJing?
Irene: It's about the same, I mean, you look at things differently and you can evaluate other people's songs and how they did it instead of like wow, that was cool.
Ron: You can actually listen to the track and hear the different layers and see where it comes from.
Irene: Yes, and then you're trying to figure out the sample. If you really talk to an engineer and they heard his name, where's that from? They could basically tell you almost where it came from, or they could tell if it was a sample the way, that it's really cool to know that you can hear that. It's like a doctor you know, dissect somebody's work because you just want to know.
