7 Magníficos

7 Magníficos, which roughly translates into ‘The Seven Magnificent’, are probably the most chaotic and acute collective of Portuguese DJs.

These fifty-something men are united under the umbrella of record hoarding and have been dazzling and overwhelming crowds during decades, having been present in festivals like Vilar de Mouros, Serralves em Festa and other crowded, smoke-filled spots like Maus Hábitos, Musicbox and even Praça dos Leões at its crowd peak.

Carlos Moura, once the drummer for Cães Vadios, fulfills his own premise of “once a punk, forever a punk”. To him, everything’s an excuse for debauchery and his music is no different, whether it’s his criminal pre-Jah reggae, the mind-twisting Northern Soul or even his most wild Garage and even the inevitable Ramonada.

Chico Ferrão, one of Muzak’s men, lives and works surrounded by records and their consequential dust. After he reads his favorite paper religiously, he has fun uncovering the most unpredictable edits from records which have lost their original counterpart. The result can be predicted – a lot of sass and class.

Miguel Dias is one of the artistic directors of Curtas de Vila de Conde, a place where Magníficos were conceptualized, but he’d really like to conduct Montreux’s Jazz Festival, if music wasn’t his main passion, right after football or five-star hotels.

Pedro Mesquita is charisma in its purest form. A party (and stage) animal always dressed to impress with his Hawaiian shirt, he’s always got exotic records under his arm, by names like Roberto Carlos, José Mário Branco and even Sophia Loren.

Pedro Tenreiro is the group’s bad boy. Whenever he’s not getting into trouble, he’s showing off his enormous collection of originals and his penchant for finding the best Funk, Soul, R&B and other originals nobody’s ever heard of but will end up loving.

Rui Pimenta is the cabin’s champion. Always in the mood to stir up things, he’ll put on hip hop from the 90s whenever Garage from the 60s is playing, Pop songs from the 80s blasting whenever Jazz is being heard, sterile Indie hits whenever a monstrous Soul classic is being played. They’re all used to it.

Vicente Pinto de Abreu, the bookkeeper of the bunch, won’t live without Excel, where he’ll organize his tax deductions, his extensive collection of films, comics, records and of other useless information. He explores and lives the classics like no one, citing and playing Phil Spector, The Supremes and hits from Desmon Dekker.

The obvious question follows: what do these old dogs have in common?


Pedro Nascimento
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