Summertime and the traditions of DJing in the family, through the eyes of Jean Pereira

Osvaldo Pereira, father of Dinho and grandfather of Jean, is considered the first DJ in Brazil. The next two generations followed in his footsteps Veraneio, a duo of DJs that, in a way, blends these three generations.

Recently, grandfather, father, and son were invited to premiere 'Veraneio: A Black Anthology', which tells the story from Osvaldo's Invisible Orchestra Let's Dance to Veraneio, now with Dinho and Jean.

We talked a bit with Jean about his vision of continuing this legacy with Veraneio, his references, aspirations, and of course, how it all came about. Check it out below:

So, how was Coala?

”Ah, it was very good, it was quite emotional. We really enjoyed it. It was just, it was only half an hour set, a break between shows, but it doesn’t even seem like it was half an hour. Because you can link it well, like, ten songs if we play three minutes each, like that. Yes. And it was quite lively, very big, I think we had never gathered that many people before. And the audience really embraced us. It wasn’t half an hour of, oh, I want the artist to come soon, no. We felt valued just like Sandra de Sá who came after, I don’t know. And that was really cool, I thought it was beautiful.”

So, well now, you’re also going to release the documentary, right?

”Exactly.”

Talk a bit about that for me, man. Like, how did that idea come about? How were the recordings? What are the expectations?

"The documentary came about at a time when I already had a musical research before Veraneio; it’s a bit related to the history of Veraneio. I already had a music research in formation, and then I also researched some images, and a very cool page: Negras Primaveras started to follow me. The owner of this page also began to follow me and got in touch saying, wow, this was when Veraneio started, right? I wanted to make a really cool documentary, three generations playing together, you know? Because it was me, my dad, and my grandfather still fixed.”

"And there were quarterly editions at Varanda Copan, which is a small restaurant on top of Orfeu. Because my dad and my grandfather used to have parties there. And then, I had the idea of, well, let’s do it for my crew, like that. And then, I went after to rush and make flyers and stuff. And then, right in the second edition, this girl from Negras Primaveras gave this shout-out… about signing the father’s public notice and stuff to write a story about Veraneio. Then I wrote a bit about what it was, the deal with the three generations, the deal with my grandfather being the first DJ in Brazil. A lot of influence from my father, a lot of influence from my uncle, my grandfather. And then, we signed the public notice, didn’t know what it was going to be. Throughout 2023, it was... Oh, let’s regulate this, let’s mess with this, that."

"Only I confess that I became a bit distant from this part of, the public notice happening, right? And then, this lady, this producer managed. And at the beginning of the year, we did it. And something very special is that there had already been other documentaries about my grandfather. If I'm not mistaken, there are two. There’s one by Alice Riff and another director. And that’s it, my family liked it, was happy, but more for it being recorded, this prestige than for the movie itself, the content."

"Yes, in this one it was very special that we had participation. Especially I had participation in the script, some direction tips, participation in some photography things. It was a dialogue, you know? So much so that in the film, many of the questions, interviews, are asked by me, my dad, my grandfather, or vice versa."

I wanted to ask you, more like, about you, your dad, and your grandfather. You mentioned that it was just the three of you, right? Before, in the beginning, fixed. How was this transition from analog to digital? I think your grandfather comes from a fully analog background, your father, I think for your sake too - he embraces more of this digital era, and you are more digital, so to speak. I wanted to understand how this transition was for you.

"Ah, I don’t know. I think he is a mediator between... since he is my grandfather’s son, right? I’m the grandson, I have a very close relationship and so on, but he went through the transition of the thing... You’re asking, right? And I don’t know, I make a movement, it’s not even a comeback. It’s just a movement of accessing what’s closer to me, like that.”

"I think... I can’t say much about them, because... when I was born, right, when I started seeing them play, a lot of the mixing was already done with CDs, like that, which is already a small CD, right, which is already a more updated format. So, I saw less tape, I saw a lot of vinyl, I had contact with that vinyl, and still saw them spinning at some parties, but my dad always had this aspiration for technology."

"And my grandfather also always surfed this wave, because he is an electronics technician. He took a course as an electronics technician, so he is passionate about technology. And I don't know, he was already playing with Serato, 'Virtual DJ', which are platforms that blend a bit of this mixing experience from a soundboard, but on the computer you have access to an infinite library without carrying any case of vinyl. I think that made a difference for them, not having to carry, not having physical things to deal with. So, in reality, when I grew up, I saw them playing in a digital space. And then, when I started playing, I started on digital, but I felt, I felt the lack of… I don’t know, it’s not even about having more physical contact."

"I just felt the need to access what was closer. Like, it didn’t make much sense for me to download a song that we had on vinyl. It made more sense... better than acquiring this song digitally, I would physically play it. That’s the format we’ve had for years, and sometimes they played, sometimes they didn’t."

"Because also this difference. The generational difference also brought a difference in research. We play the same record, but I will never play the track they play, no way. To me, that’s kind of absurd. My duty is to find something beyond this library."

I think this connects with the other question I wanted to ask as well. How is this relationship between you when it comes to playing? Even in preparation, in relation to performance, song selection, etc. How does it work?

"It’s very fluid. The preparation, which would be like a conversation beforehand. We end up not going over the set; we always showcase the music, we present a lot of music. Say: 'I think you’ll like this album. Hey, I saw this, reminded me of you, or I bought a vinyl, check it out, and so on.'"

"We update each other on what each one is researching and also the vibe they want to pass, right? For example, I don’t know, I heard the term 'balance' among the samba rock crowd and realized it was a song that linked a lot with some things, whether it’s hip hop, or reggae, very much so. But something more rudimentary in rhythm, like tum, ta! Question and answer, like that, you know? And then I told my dad: 'Hey, I’m into this vibe.' And he started getting into this vibe too and presenting me with things."

"So, we take advantage of some things. That is: I take advantage of the infinite library that my dad has in his head and his history of messages; and he takes advantage of, okay, a radar, a refresh from my son, what he wants could also be what the next generation wants... then I think there’s this generational mix of... not that I don’t research and don’t know, but I can’t deny that my dad has been playing much longer than I have. So it combines a bit of his knowledge, right? And this thing of the son’s radar, that’s what gives the symbiosis. Because we don’t train, we don’t prepare a set beforehand. We feel it out..."

It’s about feeling, right?

"Exactly, and it also echoes what happened during the week. This week we listened to a lot of one thing, presented it. We now live separately, but I call him and say: 'Look what I’m listening to.' And then I put the music on the speaker for him to hear and say: 'Look, from the clip and so on.' It’s really in this vibe of exchange. But it goes more by feeling. We can’t make something very structured. Because it ends up feeling robotic, and there’s a bit of this vibe of recognizing the other, which is a challenge, you know?"

"Okay, my dad is playing this. If he likes the turn I make, it’s not even for the approval that I’ll be happy. It’s more because we are in tune, you know? That’s what’s important."

I also wanted to ask a bit where this idea of you guys coming together to form the collective came from, which is now the Duo, right? Because each one could have pursued a solo career, anyway, where did that idea come from?

"It was an idea of mine because I had this musical development research, but it was research that remained very in streaming, or out of streaming as well. I already downloaded music and had this urge for archiving music and film that I still have today. But when I said: 'Okay, I can be a DJ', that was when I finished high school, and it was after the pandemic."

"I didn’t enjoy my high school years; my second and third years were pandemic and lots of time at home. In 2022, the euphoria came of... 'Okay, we’re going to have carnival again, there will be a lot of new things' and I was getting back to life. And then, in that sabbatical year I gave myself, of: 'Okay, I don’t even know what I want to do in college, I don’t know what my more institutional paths will be', I started to play."

"And then, this desire to play with these people said: 'Hey, do your first mix there and so on.' But then I thought: 'Well, my first mix I think should be alongside my family.' And then I thought: 'Oh, let’s create an event', but very playfully, as if it were a party, a celebration, a party I’d throw, and, well… counted on very few people, just friends and so on, and invited, right, my dad, my grandfather, they agreed. Then the name, right?"

"The name came from this conversation where I invited my dad: 'I’m messing with the equipment, I want to make a sound and wanted you to join me.' 'Wow, grandpa is going to be very happy, I’m happy too, okay, but what will this encounter be called?' And then I always had the idea of Devaneio, not Veraneio. Devaneio, of liking some very whimsical things, playful things, and of reading as well. Every time Devaneio appeared I think I saw myself."

"And then, my mom hearing us talk 'Devaneio, Devaneio', she said: 'Wow, why isn’t it Veraneio - the name of the car, right?' Then we: 'Wow, genius, very cool!' So, it was a name that was very close to us, but none of us three thought of it; my mom hearing the conversation and I hearing 'Devaneio', she pulled 'Veraneio', which is my grandfather's car that, well, has a lot of the family story... it’s his car, all the children rode in it. I think I came back from the maternity ward in that car. My God, crazy, a lot of weddings, everyone went in that car, so there are many stories, it has symbolism."

Another thing, how did this relationship of the family with DJing come about, did it come to you as a natural thing? Because your dad plays, your grandfather plays, your uncle plays, the rest of your family, a lot of people play. For you, did that come in a natural way? Did you always like it, always research, anyway?

"Ah, it comes naturally, yes. It’s even contradictory, I look at a younger Jean who refused to be a DJ, denied a bit to talk about this legacy. So much so that there was a turning point when, I don’t know, teachers found out, went to an event and said: 'Oh, wait, is he your grandfather? Wow, that’s cool!' And there wasn’t much of me not recognizing my grandfather. I have always been very proud of that, like, I participated in a lot of things, saw beautiful things he participated in."

"So, like, since childhood that gave me pleasure, made me proud. But I shied away from being a DJ because... I don’t know. I thought dancing wasn’t really for me, even enjoying some things. And I also always had a thing for the B-side, you know?"

"And then I thought: if I become a DJ, I won’t succeed, because I always thought that. I won’t succeed because I won’t want to play what everyone else plays. So, I’m going to fail, and then I never really wanted to be a DJ. So it really came from a time in my life when I was deciding things; I had just finished high school, made my decisions, a developing research, and then I saw this thing of the family being close, you know? So it seemed kind of like a family trade that, in some way, was passed down, but without saying anything, you know? Without any influence: 'Oh, you should play', or 'You could play', or 'You will be a DJ.' This question was asked by outside people. Who is in the family always respected the wishes, they swore I would be, I don’t know, any square profession, like that."

Oh, but that’s cool. I wanted to ask a little about references and also your influence, obviously, beyond your family, your dad, your grandfather, anyway, who do you draw your influence from outside your family? Reference, anyway, from here in Brazil or do you think your main influence still comes from your family?

"Ah, in terms of reference, yes. I don’t think it’s my family, but they are pretty much political references, really, always political references. And I like Brazilian figures, and if it’s not politics, it’s academic references. It’s even what attracts me to lyrics or musicality, it’s being able to intersperse that with something I think. I have to relate to that something. For example, it’s a nearly recent thing, comes from a year ago, but I got in touch with Italo Calvino. It’s fantastic literature."

"And since then, I realize that the lyrics I look for also talk about a place or talk about music as if it were something beyond the reality that is in reality. Just like literature is fantastic. Then I had phases when more political ideas, especially about class, were very prominent in me. So, I think I listened to a lot more artists from the anti-dictatorial movement, like that."

I understand. So, like... Literature kind of relates to your musical research too.

"Yes, a lot. I think it influences me more than my family or more than an artistic movement, in fact. Because that power to correlate language and music beyond the lyrics, I think it’s what the DJ does. Because otherwise, it’s just the DJ figure, when it shows up at an event, at a party we throw, it will just be the DJ figure, you know?"

"Our music doesn’t speak what we think either, then it becomes difficult to associate that this is a musical research, which is an artistic work, you know? It has to tell a bit about you without you picking up the microphone and telling your story, you know? So I think it’s important; literature is a motor. But I also think cinema is very much so, a big motor, you know? To try to construct... there’s this point, to try to build something visual through the set, by myself, you know? But not just from the set, through the musical research as well, it has to say a little bit about who I am, the person to grasp my vibe just by what I read. I think it’s important."

This taste for literature comes from before, it’s something more recent, came tied to music, how is it?

"So, I have this legacy, right? Of having my family on my shoulders, from a very musical family. Wow, I heard a lot while I was in my mom's belly, but my parents are also responsible for that, you see, because I wasn’t from private school. I lived with them until then, with my dad, in Vila Ed, which is a periphery in the North Zone. By the way, MC Kevin was from Vila Ed too, MC Pedrinho, several MCs, like that. That part of the North Zone, Vila Ed, Vila Medeiros, Jardim Brasil, now that there are some things happening, like the Mocotó restaurant..."

"But, this thing of growing up in the periphery made my parents raise me in a way. 'Okay, you’re going to access the periphery here, you’re going to establish yourself, this is it, this is our class. But you also need to access another side of life.' So, I had a nice upbringing, to go... if not outdoors, it was at Oscar Square, which is a square next to my grandfather's house. So we went, the whole family walking, me, my dad, my sister, my mom, and then we’d go to the movies. Then I would go to the Park of Youth Library, in Carandiru, to get books; I had to do critical reviews, like really small. So they always urged me to read and write, to write in a way that I could see another reality through education too, more than music, you know?"

"And then the music told this other reality organically, like, okay, we influence you to watch movies, to write, to read, and this side is what’s in our story: 'Oh, we like samba rock, your dad is a DJ, your grandfather is a DJ.' And so I think I was very aware of my story, even though some accesses were quite restricted. They made me pretty conscious of my history, so there’s no way not to develop a taste for literature. I’m going to research a bit about myself in literature, since I was little."

Cool, I really liked that! Whether we like it or not, I think the upbringing influences a lot the fact that you grew up in a house that influenced you to all of this. Well, I think you continue this research, even if unconsciously, right? Just like you said, your literature relates to your musical research, but not because you... wow! this here, I need to research this here. It’s kind of unconscious, really.

And speaking about musical research, you mentioned that your dad also has a refresh there, because you’re younger, you’re from another generation, he’s older; how does it work? Does everyone do their research individually? Or do you guys come together for this research or each of you shows here, shows there.

"This thing of research, even though I say there’s a refresh, I think there’s a refresh only in the vision, how I see myself artistically, how he sees himself artistically. I think that’s the refresh I have in relation to him, because he’s really a guy who, I don’t know, he has a contemporary aspiration to always be updated, to follow what’s rolling, what’s circulating. I, however, don’t have that, so it becomes something of me making him return to some things, but the refresh goes more in how we research. For example, he comes from a background that says a lot about FM; he listened to more FM, he did radio shows, radiography really, and I listened to FM but I always had the critique that, on FM, for me to hear a song that I didn’t know and like that, it was always at dawn."

"It was at dawn, I’m bored, I’m going to listen, I’m coming back from somewhere, I heard it on Uber and then got the name of the song. So, for presenting the song, FM isn’t a good place. And then I think there are two proposals and perspectives we have to find in this research, which is individual – to answer your question, it’s quite individual. We even research some things, not together, but we reach the same place in research and same language, but more because we’re playing together and the paths end up meeting. But I have very different places than his. I think he, having lived other things, revisits a lot, and then, for example, the soundtrack of soap operas; I learn so much from him. And there are many records I say: 'Wow, I’m loving this song!' and he says it’s in the soundtrack of such a soap opera, you know?"

"And we have many records from the soap opera soundtrack because of that. So he has this thing of looking more at the radar; he looked to FM, he looked to soap operas, he looked to the United States, what was happening there, and didn’t just make a movement of 'I’ll do the same,' but he did something with the influences of samba rock. I, however, do something with a greater aspiration – it’s not greater in the sense of quality, but greater in challenge – and also a responsibility I put on myself, which is a bit less light, less subtle."

"Which is the following: I’m the third generation of a family of DJs, so my cooperation can’t just be me picking up and playing what my dad played, what my grandfather played, or what someone else plays. I have to tell a story playing everything that’s around, surrounding, but I also have to be new. I can’t be too 'Pereira', or else it seems like everything is won for me, and I need to show people that it’s not won, it’s not like that; I have my internal challenges."

Yes, I understand! Cool! I think I would like to ask now more about expectations. The documentary is going to be released, obviously here, what, in ten days, nine days? Besides the documentary, what do you guys plan? You are starting to play at more parties too. What are your expectations for you? How is Veraneio?

"As Veraneio, the certainty I have is that my expectation is to keep running more and more towards a cultural cycle. And, of course, a party in itself, an event where we sell tickets, where our work exists through this part and also through the DJ set, is cultural. It’s a matter of resistance for us to organize something of our own and make it work. It’s something cultural and a resistance of black people doing something that is hard and accessing the market."

"But I think that, beyond the market logic, it’s running towards a cultural side in the sense of promoting more artistic encounters; we connect with all these people we are getting to know or already knew, bringing people together through music, through visual arts, which is my interest, and through literature. So, we take advantage of knowing how to gather people, knowing how to produce an event, to produce things that go beyond the dance floor solely, that musical culture can go another way."

"That’s my biggest vision, for next year. Obviously, there are still three months left, right? But three months fly by, yet that’s it, right? But many projects add more culturally, like conversation circles, some events that have a mixed format, which will have mixing, will have a dance floor, but will also have a performance, a projection; they will also bring other artists to compose this space along with us. It’s to occupy the spaces more versatilely because we are already occupying spaces. And occupying spaces, thankfully, I’ve seen people similar to me racially and by class occupying, that’s super crazy. But we can’t just tell a story of: I’m occupying spaces, I’m managing to stay or acquiring financial goods."

"I think we also have to walk towards 'I’m occupying spaces and culturally we are maintaining a tradition or creating a new one'. I don’t know, we are making culture beyond the monetizable part, a culture that consolidates just to consolidate."

Speaking of which, I’d like to ask. You mentioned that you are into film - how was it playing at MUBI Fest?

"Ah, wow, that’s a good question. Yes, they are good. I like their catalog. But I confess that, for films, I end up having a thing for archiving, for collecting my own and so on."

"But I really like their catalog, and there’s very distinctive stuff in their catalog. It’s very specific, and then, like, when the proposal came to be a MUBI Fest and the guys liked our set and it was at the Casa de Cinema de São Paulo, I was ecstatic, saying, ‘Okay, my cinephile side is connecting with my music side’ and, I don’t know, it also gave a hope that, wow, I can have arms for more things, right?"

"So that boosts! It motivated us a bit to, okay, let’s do this, first look at this environment and see where the people are enjoying the sound. So it was great to know that we can put sound anywhere, and if the audience joins in, there’s going to be that symbiosis, there’s going to be the relationship of the dance floor and being a Veraneio, right? Even if it’s for two hours or an hour and a half. And it also gave me the perspective that the things I want, even if sometimes they seem of a magnitude, they’re not far away, you know? They’re not that distant, like that."

"Of course, I’m not going to run on a meritocratic bias, it’s just to chase and stuff, I’m not going to minimize things. But it also gave me this hope really. And it made me very happy and content! My cinephile side accessing my DJ side. It’s all linked, it’s one thing. I thought it was cool!"