A Quote by Miho Hatori
I was sometimes doing DJ stuff and working in a record shop in Tokyo. That place was a very unique shop. It was the place lots of DJs came to get used and rare records. It had a lot of jazz, funk, Latin and seventies rock.
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My favorite record shop was called Recommended Records, in South London near where I lived - they did all the original Faust reissues that came out in 1979, and they also did a lot of Sun Ra stuff. They were a great record shop.
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.
I was born in Philadelphia, Pennsylvania, and am a product of a family that were jazz aficionados and also very interested in progressive politics. And so I had a lot of artists and musicians in my home. Lots of Latin music, folk, and jazz and blues, bluegrass-type of stuff. Painters and stuff like that.
Opening Ceremony is my number one favorite place to shop here. It's the only place I'll shop in New York with my son. All of the sales people are so cool; the music is great; it's just like a big fun house, so he stays entertained.
Every day, I have a parcel waiting for me at home because I have shopped something, as I have physically stopped going to places to shop. I don't shop from malls because the stuff there is very common. I like to be unique and different.
I don't shop just high-end, honestly. I shop at Zara, I shop at Topshop, I shop at H&M. I shop everywhere.
You know you're a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.
I was part of a group called Casanova Fly, doing bouncer work, attending college and working in a pizza shop when I first met producer Sylvia Robinson who came into the pizza shop where I was flipping the dough. I was rapping in the park in Englewood, and she heard about what I was doing.
There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.
I'm one of these DJs who likes to play true to myself, so I'm not gonna be throwing in some rock bootleg mashup mix of some record to get a reaction. Sometimes it does amaze me, you go to festivals and DJs think, "Oh, I need to play big crowd-pleasing records." You don't need to spoon-feed the crowd.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
People always say 'Etta, you know what your problem is? You're neither fish nor fowl. There is no place to rack you.' When I would go in a record shop, you might find one or two records by me in different stacks.
I used to take long walks in England. The second time I went there, it helped me to lose a lot of weight. When I wasn't playing, I used to spend the whole day walking. Going from shop to shop.
I belonged to the Columbia Record Club, and that's where my records came from. For some reason, I was in the 'jazz' category. I got Benny Goodman records and Miles Davis, J.J. Johnson and Kai Winding, and that kind of stuff. I really was not a jazz guy at all, but I knew some of those names.
I started DJ-ing in the '90s. DJ-ing is in every record I do. When I make records I make them for DJs.
I design a lot of things that I wear onstage, but I'm always looking for unique stuff. I like creative things, so anything I can find at a secondhand costume shop to a Helmut Lang store, it doesn't matter - just unique stuff.
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