He showed interest in music quite early when he did amateur DJ work in Podgorica. He performed in smaller clubs then, to come to Belgrade in 2000, and begin his breakthrough on the Belgrade club scene. A year later he becomes resident, at the time, at the most famous club Bus. During 2004 he performed at many clubs in Belgrade such as, Bizzare, Monin Bar, Plastic and Drama. He soon became one of the official Tuborg's disk jockeys at whose parties he performs even today in front of thousands of people. How much did the sponsored parties influence the clubbing in Serbia?
Oysha: They had a good impact, and they still do. However, I think that the audience here is overfed with foreign disk jockeys and guests. Especially if we are talking about Belgrade parties where many of the same events have been organized several times, and one DJ has visited two-three times a year. People no longer look forward to that, they only come to pose. Something new has to be offered to the Belgrade audience.
VSG: In what way does that manifest with the audience in other towns in Serbia?
Oysha: It is completely different with them. The are eager for every new event. When a big party is organized, it's like the "national joy". For example, Tuborg Green Spot is an event like a circus coming to town. I have friends telling me that, when they hear about an upcoming big party in their town, there are all out preparations. It is talked about 15 days earlier, tickets are hunted. Outfits are prepared like for a prom, who will wear what. They really want to have a good time. Near the start of the event, the Tuborg tent is filled within one hour with two to three thousand people, which is pretty much the capacity.
VSG: Those sort of parties are really mass events. Is it perhaps a good way for a Serbian DJ to show his talent in front of a greater number of people?
Oysha: Of course. One of the advantages of big parties compared to club parties is that you can play a track that you may not have gotten away with at a club. Because a club party is for a smaller number of people, the atmosphere is somewhat more intimate, and thus, a track that goes by at big parties, may not go well at clubs.
VSG: And where is clubbing better?
Oysha: It is just as good at both, except this is a tiny bit different kind of entertainment. People that come to a club have a good time just like those that, say, visit a bigger party like Green Spot or the like. When it comes to space and the number of people, I think that every party is excellent in its own way.
VSG: Besides playing music, how important it is for a DJ to be a good entertainer?
Oysha: It is very important. All the energy comes from the disk jockey. If a DJ stands in the booth and never lifts his head up, or frowns at the audience, it's pointless. I believe that it is necessary for a disk jockey to dance with the music that he plays, to have a good time and show his good mood to the audience, if he wants to feel the audiences positive energy. I have a good time at my performances because I love the music that I play, I don't do anything by force, don't play the stuff I don't like. I come to every performance like I went out to party and I come back home at 5 AM pleased, like I have been to a party that I never worked at. I see my job as mine and the audiences fun. That is why it is very important for a disk jockey to be a good entertainer, because that is how parties are successful. |
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VSG: That way, a disk jockey, while entertaining, can build his own distinct style, right?
Oysha: Well he can, but I think I'm not that skilled of an entertainer, he he he.
VSG: Yet you remained distinct with the fiscal bill paper band you tied around your head one time, he he he.
Oysha: Yes, that was quite by accident. But there, I didn't know people noticed, he he he. I had happened to fall out of a booth at Sound, couple of years ago, that's entertainment too, he he.
VSG: What do you think about the music festivals and how important are they for the electronic music?
Oysha: I think they are very important. For a performer, because of personal promotion and the promotion of music that he plays or makes, and for the audience for several reasons. It's for good fun first, and then for the music education, because maybe they didn't have the chance to hear something new in other places, like the media that don't even exist. The lack of real media to musically educate the audience is a big problem. Festivals are places where education is still present.
VSG: And how is a disk jockeys name important? Where did your name come from, DJ Oysha?
Oysha: He he he, I knew you would ask that.
VSG: Well we had to, he he he. There is nothing written about it, and we want to give this information to our readers.
Oysha: Yeah, it's not written anywhere. I am Montenegrin, from my father, and my name is Nebojsa. Then the joke from the shout "oj ha" that Montenegrins have in their folklore. Becouse of the oj-ha came oj-sa, Nebojsa, then oj-sa and then my friends, the DJs, made me into Ojsa. Later it stuck. But to be modern, instead of Ojsa, I put Oysha, he he he. Though some media signed me as Ojsa. But it's okay.
VSG: You didn't dance the Montenegrin oro today, but then you successfully showed deejay karate moves, he he he. Thank you for educating us that way too.
Oysha: I made preparations, I have to admit, he he he. You are welcome. See you again. |
