News
Grand Opening of the Village Marketplace and Brewery Showroom
If you are in Nashville please join us this Tuesday (3/31/14) for the grand opening of our showroom in the Village Marketplace and Brewery. The space is located in Hillsburo Village in the old Boscos building. There will be craft beer available, lots of great shopping, and we'll be there from 6-8 selling bags!
"Craft beer and shopping come together under one roof at Hillsboro Village's newest business, Village Brewhouse & Marketplace.The owners of Sam's Sports Grill purchased the brewing equipment and leased the former Boscos Restaurant & Brewing Co. space at 1805 21st Ave. after Boscos closed in the fall. The new brewery serves about 10 craft beers, wines and appetizers, while the marketplace has room for 20 vendors to sell goods."It's a unique place to shop and drink. We have a little mix of everything in here," said Liz Waller, who is overseeing the Village Brewhouse & Marketplace project. The business has a small seating area surrounding the bar and big-screen televisions.
Four beers are being brewed on site: an English Pale Ale, a hybrid India Pale Ale, an Oatmeal Stout and an American Pale Ale. The appetizer menu includes chips served with various dips, including queso, salsa, pimiento cheese, smoked trout dip, white bean hummus and olive tapenade.
Vendors have rented the remainder of the space to sell a range of goods, from food products to women's clothing and men's messenger bags.Vendors at the marketplace include fashionABLE, Galena Garlic Company, Sweet Darling French macarons, Hollybelle home goods and antiques, Muse Boutique, C.London essential oils, Nola Granola, Star Art, Bee Attitude T-shirts, El Baul jewelry, Rosie Jayne, Tucker & Bloom messenger bags and Sweet Tea Candle Company. A space near the front of the building is reserved for vendors to rent by the day, Waller said."
How to Build a Second Act Business with your kid
We we're recently interviewed by Market Place Money's Chris Farrell for a piece he put together entitled "how to build a second act business with your millennial kid". The article touched on some interesting points and was featured on Time.com and Next Avenue.
“It’s awesome working with my dad,” says Case Bloom, 30. The feeling is mutual, says his father, David, 58: “We are good complements to one another.”
From ‘You’ to ‘We’
The Blooms, and their business manufacturing highly-crafted messenger bags targeted at the DJ market, are a prime example. Before opening shop, David had spent his career in bag design and was director of travel products for Coach in New York City before he lost that job. When Case was in college in Nashville, studying business, he’d offer pointers to help his dad’s venture. “His logo was so bad. Horrible,” laughs Case. “I’d tell him, ‘You’re doing it wrong. Do it like this.’”
Eventually, Case says, it became “We should do it this way. The business happened organically.” Today, father and son each own half of the company, which has seven employees. David handles design and product development; Case is in charge of anything to do with the brand image and online sales. He’s also the one making frequent runs to Home Depot for the business’s factory and to the Post Office for shipments. “I have a different set of skills than my father,” says Case, who is also a part-time DJ.
When Kinship Is Friendship
One reason for the growing second-act-plus-child trend: surveys repeatedly show that today’s young adults generally get along well with their parents—and vice versa. “The key is an attitudinal shift in the relations between generations,” says Steve King, founder of Emergent Research, a consulting firm focused on the small business economy. “Boomers are close to their kids and the kids are close to their parents.”
Take Amanda Bates, a Gen X’er, and her mother Kit Seay, co-owners of Tiny Pies in Austin, Texas. “We’ve always had a close relationship, feeding off one another, finishing each other’s sentences,” says Kit, 73. They’d long wanted to do something together.
Several years ago, Amanda got the idea for making handheld pies from her son’s desire to take pie to school. So she and her mother began selling small pies, based on family recipes, in local farmers markets. They now sell them throughout the state, mostly through specialty stores, and opened a retail storefront at their wholesale facility in March 2014. Kit focuses on the creative and catering side of the business; Amanda’s in charge of the basics of running an enterprise. “The trust is there,” says Kit. Amanda agrees. “Yes, the trust is there. If she says something will get done, it will.”
Teaching Your Child Trust
Trust and complementary skills are also themes for Lee Lipton, 59, and his son Max, 25, and their Benny’s On the Beachrestaurant in Lake Worth, Fla.
Lee, the restaurant’s principal owner, came out of the clothing manufacturing business, moving to Florida after the Calvin Klein outerwear line he ran with a few partners was sold. He bought Benny’s a year ago. Max, who’d wanted to get into the food business, is one partner; the other is chef Jeremy Hanlon. Lee’s the deal maker, Max manages the restaurant and executive chef Hanlon handles the kitchen. “The three of us trust each other incredibly and when one person feels strongly about something we tend to do it that way,” Lee says. “Very rarely after talking do we disagree, and that format was identical to my past partners. I want to teach Max and Jeremy that closeness.”
For second-act family businesses, creating boundaries between work and home is advisable, but easier to say than do. Speaking about her current relationship with her mom, Amanda Bates says: “We used to go out together and have fun, go to garage sales, that kind of thing. Now, when we get together, the business always come up. Even at family dinners, we end up talking business.”
The Win-Win of Multigenerational Businesses
But in the end, it’s family that makes these businesses succeed.
Bianca Alicea, 26, and her mom Alana, 46, started tchotchke-maker Chubby Chico Charms. in North Providence, R.I. with $500 and less than 100 charm designs at their dining room table in 2005. They now have roughly 25 full-time employees and sell several thousand handmade charms. Alana is the designer; Bianca deals more with payroll and other aspects of the business. “It’s important to remember you are family,” says Bianca. “Things don’t always go according to plan, but at the end of the day you have to see one another as family.”
Intergenerational entrepreneurship, it turns out, can be a win-win for boomers and their kids. For the parents, it’s the answer to the question: What will I do in my Unretirement? For their adult children, working with mom and dad provides them with greater meaning than just picking up a paycheck.
Chris Farrell is senior economics contributor for American Public Media’s Marketplace and author of the new bookUnretirement: How Baby Boomers Are Changing the Way We Think About Work, Community, and The Good Life. He writes twice a month about the personal finance and entrepreneurial start-up implications of Unretirement, and the lessons people learn as they search for meaning and income. Send your queries to him at cfarrell@mpr.org or @cfarrellecon on Twitter.
Interview with DJ King Most
In the digital age songs are easy to come by. Any and every DJ has access to the same music available on iTunes and Beatport. For the DJ's who want to stand out, the edit is king, and good edits are hard to come by...unless you know about King Most. Armed with a record collection and tastes that span genre and style King Most has made a name for himself in the DJ world through paying dues in the Bay Area and skilled production work. His signature edits, aptly named "Redirections", push classics into new territory and can be heard in DJ sets the world over. If you are interested in Soul, Disco, or Hip Hop this is the guy is for you.
Where are you from?
Born and raised in and around San Francisco, California. I feel I'm more of West Coast dude in general though. Coffee, sunshine, and distinct jams.
When did you begin your re-editing work?
The serious re-editing work started in 2010/2011. At that point I was already making hip-hop and soul beats, but finally bought my own computer and started using Audacity. My friend DJ B-Cause already had a few years underneath his belt of putting out killer edits and I just had to try it myself. Prior to those years I had a few things finished, but that was when I was when I far less dedicated. I now work on music every day.
Around 2011 was still the period where putting out your own material took a little more effort, the pre-Soundcloud era. You had sites like The Hollerboard or labels like GAMM, Money Studies, and countless great disco edit "labels" that aren't really around anymore. The majority of this music was made by DJs for DJs so it caught my ears.
What do you look for in a song that needs a re-edit or "redirection"? Are you just beefing up certain elements in the track, or taking things away?
It has to catch my ear. From there I sort of mentally categorize all the things I can do with it. My mind starts thinking, "Oh, this a capella is in the same key as this," or, "That sample would sound great with some keys or bass added to it."
Where I'm at now with edits it's more about adding musicianship to tracks. Nothing wrong with just cutting and pasting parts and adding some low end, because I did that for a while and sometimes that's all you need. But, to keep myself and hopefully fans excited too, I'm pushing them further than what I did previously—almost to where they could be heard as an original track as opposed to a "redirection".
Has doing re-edits helped your career?
100% yes: residencies, remixes for other people, and DJ gigs. The little tracks I put out there have put me on radars that I would have never thought I would be on. I want to keep at it so I can be seen as much as a musician as I am a DJ.
What interests you musically these days?
This might be a good thing or a bad thing, but I'm seriously all over the place. Right now I've been listening to a lot of hip-hop, but also more club-centric sounds that you find all over Soundcloud. It's that nebulous style that incorporates bass, house, uptempo soul, 90's R&B, etc.
Give me like three weeks though and I'll probably all into Cumbia with Indie Dance.
What is your production set up looking like?
My production set-up has always been pretty bare. I occasionally break out the MPC for fun, but Abelton is at the heart. Great homies like G Koop and Jon Reyes lend their musicianship to my edits and I love those guys. There's a lot of records involved too.
You seem to be doing a fair amount of travel these days and you now have a weekly in Vegas. How is the residency working out for you?
I have never done anything like it before, so it's pretty damn exciting. I'm glad I have a seriously dope DJ partner, Anthony Valadez, riding with me as well as lot of great musically-minded people involved. Just traveling every week is an adventure in and of itself with all the random people you meet and things you see. The DJ travel life is really something else you can only learn and experience firsthand. It's exhausting one moment then hilarious the next.
Where are you most comfortable playing?
I try not to get too comfortable in any situation. Once you start being comfortable, you start slacking with your craft and ultimately it shows. You're basically dead creatively and just going through the motions.
How do you handle requests?
I stopped fighting it to be honest. Let them ask, and if it makes sense, I give it to them. They go away happy and I'm glad I can get back to DJing. There's no need to have a meltdown, and that goes for the people on both sides of the DJ booth. I'm lucky since I don't get too many requests these days.
What is the weirdest thing you've seen in the club?
Nudity, heavy groping, Taco Bell, dogs, very pregnant women dancing to Wocka Flocka, but really the weirdest thing is GIRLS GOING BAREFOOT.
What excites you in a DJ set? What makes a good DJ great?
What makes a DJ set great is really that sweet combination of technical prowess, party pleasing, and hearing music that I need to get my hands on. Even if a DJ hits two out of the three I'm all for it.
I'm a huge fan of going to see DJs play and well as hearing their mixes. I don't get DJs who don't go out to parties. That's almost like the athlete who doesn't train and eats terribly.
What's next for you?
Finishing college, releasing a lot of edits (some of which are coming out on vinyl), and original music with both rappers and singers.
Keep up with King Most on Twitter, Facebook, and most importantly on Soundcloud
Seven Steps For Better Listening Part 2 by DJs Sebo Sellout and Flow One
Two of Germanys finest record diggers Sebo Sellout and Flow One have put together a funky 7" break mix! Highly recommended listening for those of you into the more obscure end of the record spectrum. Streaming and free download below. Enjoy!
7 steps for better listening - "7 steps on top!" by Sebo Sellout & Flowone on Mixcloud
"Ladies and Gentleman,
after more than two years, hundreds of bottles of red wine and kilos of medium rare beef we are proud to present you the second part of our mixtape series “seven steps for better listening” - “seven steps on top”
More than 180 obscure, rare, not so rare, funny, crazy, weird and strange old records from all over the world, mixed with dozens of cuts, skits and sound effects combined in more than 75 minutes of straight multitrack mixing and editing madness. Funk, Soul, Jazz, Psychedelic rock and rare grooves for days! 100% original first press vinyl only (apart from the pointers sisters track in the intro)!
Come with us on a trip to psychedelic wonderland and enjoy the soundtrack to your worst nightmares." - Sebo Sellout and Flow One
Download it here
Agent 45 | Welcome To Atlanta
Since 1999, Agent 45 (Brian Poust) has been researching and documenting the rich history of Funk and Soul from the state of Georgia. While its capital city of Atlanta entered the greater consciousness of the world through its burgeoning Hip Hop scene of the late 1980s and beyond, this was built on a solid foundation of R&B music going back to the earliest days of the Top Hat ( renamed The Royal Peacock), Builders Club and Waluhaje Night Clubs of the 1940s. While much of this music has since become widely known to DJs and collectors, Agent 45 has chosen to spotlight the often overlooked sounds of Atlanta Funk and Boogie artists of the 1970s and 80s, just before the capital of the "Dirty South" earned it's Hip Hop stripes. We begin with the sounds of one of Atlanta's most influential R&B stations of the 1980s, WIGO-AM, before jumping off into an hour of sounds from influential studios run by Calvin Arnold and Haywood Tucker, arrangements by legends such as Tommy Stewart. You'll also find a host of Atlanta artists who put out independent records on obscure, fly by night labels that couldn't last beyond their first release yet hiding their own unique treasure waiting to be discovered decades later.
- Tommy Stewart - Atlanta Get Down (Abraxas)
- The Chapparrals - Jam Around the World (Maximillion)
- Atlanta System - Falcon Fever (King Ro Productions)
- The Now Gang - Wanna Make You Dance (EGM)
- Anthony Lockett - Decisions (McTrax, V103)
- Vickie McKisic - Burnin Hot (HoMark)
- Maggabrain - New Wavin' (Now)
- King Juan - We Just Want To Dance (Castle City)
- Elans - Private Love Affair (Budweiser Showdown, WIGO)
- Joan Ashe - My Life (Gold Mine)
- Gripp Band - We Got Something Funky For You (Midtown)
- Punchy & Early Warning System - Whole Lotta Jammin' (EWS)
- Roubaix - Ain't Nobody Better (Libracorn)
- Symbol 8 - I Thought You Wanted To Dance (Midtown)
- Cosmic Force - Humanoids Get Up (E.F. Records)
- Andrea Hammond & J.T.'s Connection - Let the Music Turn You On (Golden Magic)
- Khayree Ramadan and Horace Henry - Atlanta (Big City Records)
Listen below and get a free download here
Fall/Winter 2014 Bag Collection
Fall Bag Collection
Fall is in the air and we've got a new line of bags to assist in your leaf tromping, sweater wearing adventures! Check out some of our new offerings below and take a look at our look book while you're at it!
Waxed Canvas and Leather Ranger Market Tote
Tucker & Bloom designed the Ranger Market Tote to take you through a trip to the farmer’s market or weekend cottage getaway. Deep and roomy, it has space enough for all your necessities and more. The Ranger Market Tote is constructed from durable, water-resistant 18-ounce waxed canvas made in the USA by the Martin Dying and Finishing Co. of Bridgeton, New Jersey. Locally sourced, supple pull up veg tanned leather comprises its edges, pull-up straps, and embossed patch. The older this bag gets, the better it looks. Inside, a back panel lined with bright, four-ply Taslan Nylon is subdivided into a sleeve for a tablet and smaller pockets for a cell phone, keys, and more. A voluminous, unstructured main compartment can handle a stack of records as easily as a weekend’s worth of clothing. Just like all Tucker & Bloom products, the Ranger Market Tote includes our lifetime warranty.Whether you’re looking for a bag to get you through your whole day or a traveling companion for a long weekend, the Tucker & Bloom Ranger Market Tote has the durability and craftsmanship to last a lifetime.
Waxed Canvas and Leather London Duffel Bag
Bring everything, including the kitchen sink, in the Tucker & Bloom London Duffel Bag. Updated with the season’s most durable fabrics, the bag has the space to get you through your longest trips. The London Duffel Bag begins with durable, water-resistant 18-ounce waxed canvas made in the USA by the Martin Dying and Finishing Co. of Bridgeton, New Jersey. We then went to Kentucky for the locally sourced, supple pull up veg tanned leather that makes up the bag’s thick shoulder straps, rounded grab straps, and
bottom panel. Finally, we finished with matte nickel-cast brass hardware and a Riri zipper for a bag that can withstand the test of time. Inside, a bright four-ply Taslan Nylon lining lets you quickly find what you’re looking for, even in low light. A sturdy, removable shoulder strap with shearling pad makes the heaviest loads comfortable during commute. Just like all Tucker & Bloom products, the London Duffel Bag includes our lifetime warranty. Whether it’s for a weekend, week, or longer, the Tucker & Bloom London Duffel Bag, updated with durable materials made in America, has space enough to spare.
Waxed Canvas and Leather Saddle Messenger Bag
When you only have the time and space for one bag, Tucker & Bloom designed the Saddle Bag to fill a wide range of day-to-day uses. Grab it and get on with it. The Saddle Messenger Bag is a messenger-style bag smaller than our famous North to South. It’s perfect for women looking for function without the overpowering size. Made from durable, water-resistant 18-ounce waxed canvas made in the USA by the Martin Dying and Finishing Co., the edges pop with locally sourced pull up veg tanned leather. A removable cross-body strap secures your stuff on the go. One main chamber provides ample room for a clutch or wallet, while the pockets of the back panel organizer house keys, cosmetics, a cell phone, and more. The bright, four-panel Taslan Nylon lets you find items even when the lights are turned down low. Just like all Tucker & Bloom products, the Saddle Messenger Bag includes our lifetime warranty. The Tucker & Bloom Saddle Messenger Bag is designed as a step up from the everyday purse. Elegant, refined, and yet oh-so-simple, experience the blending American craftsmanship, function, and fashion.
Waxed Canvas and Leather North to South Messenger Bag
Tucker & Bloom’s best-selling North to South Messenger Bag gets a fresh update with this year’s hottest materials paired with our world-renown craftsmanship. The North to South Messenger Bag begins with durable, water-resistant 18-ounce waxed canvas made in the USA by the Martin Dying and Finishing Co. of Bridgeton, New Jersey. We then went to Kentucky for locally sourced, supple pull up veg tanned leather for the bag’s trim, security straps, and embossed patch. We finished with matte nickel-cast brass hardware for a bag the only gets better with age. Inside, four-ply Taslan Nylon lines the back, including a zippered pocket to secure a wallet, phone, or other valuables. A wide-open main compartment can handle a stack of records or a laptop, and the front pocket further divides into smaller pockets for change, airline tickets, and whatever else you need access to on the go. A slip pocket on the back and two side pockets offer even more storage options. An optional, removable cross-strap lets you secure the bag while biking, and a sturdy shoulder strap with shearling pad makes the heaviest loads comfortable during commute. Just like all Tucker & Bloom products, the North to South Messenger Bag includes our lifetime warranty. Find out why so many people have gotten hooked by the Tucker & Bloom North to South Messenger Bag, now in fresh seasonal materials.
Churchill Leather Belt
Tucker & Bloom loves the feel and smell of good leather, but mostly we love how long it lasts. That’s why we created the Churchill Leather Belt, designed to last you a lifetime and then be passed down to the next generation.
Our thick and supple Latigo Leather, sourced locally from Kentucky, is designed for years of use. As it ages, it develops striking patina unique to each piece. Edge painting provides a smooth, finished look. The warmth of the belt’s leather is offset by the nickel-
plated brass buckle, which is made to take a beating and keep on ticking. Cast brass rivets, hand-tooled punches, and contrasting stitching all complete the package.
Just like all Tucker & Bloom products, the Churchill Leather Belt includes our lifetime warranty. Like a good wine or classic song, the Tucker & Bloom Churchill Leather Belt is designed to only get better with each passing day.
Waxed Accessory Pouch
The Tucker & Bloom Waxed Accessory Pouch was designed for a life on the road. Whether you’re switching bags or just looking to keep track of a wallet, lighter, or antique totem, find just what you’re looking when you want it. Made from durable, water-resistant 18-ounce waxed canvas from by the Martin Dying and Finishing Co. of Bridgeton, New Jersey, the Accessory Pouch will last longer than your iPhone earbuds. Unlined and minimalistic, this is a no-frills organizer within your favorite bag. Just like all Tucker & Bloom products, the Accessory Pouch includes our lifetime warranty.Whether you’re switching bags in a pinch or just looking to add a little structure to a tote or duffel, Tucker & Bloom Waxed Accessory Pouch is your home base for where things live.
Interview With DJ Mr Supreme aka Supreme La Rock
Seattle's DJ Mr Supreme (also known as Supreme La Rock or Preme for short) has been involved in DJ culture and collecting for well over twenty years. His encyclopedic knowledge proceeds him in collectors circles where he is know to regularly drop the phrase "got it" in reference the rarest of rare records. The elusive CTI briefcase? He's "got it". The uber rare Alabama funk LP by the Brief Encounter? He's "got it". The list goes on and on, but beyond his rep as a collector Preme is one hell of a DJ, rocking parties the world over, and holding the title as the official DJ for the Seattle Sea Hawks. We caught up with Mr Supreme to chat about what what he's got going on and what else he's "got" up his sleeves.
Where did you grow up? What was it like?
Born in Los Angeles but grew up in Seattle. It was fun as I was growing up in the 80's just doing kid stuff riding my bike, playing Atari, breakdancing and hitting the record store
Were you raised in a musical house hold? Did your parents play music around the house?
Not a musical household but my dad played Miles Davis & Curtis Mayfield records and lots of free jazz while my mom played Elvis & Neil Sedaka. My brother rocked Elton John and my sister played the Bay City Rollers, Boston & Peter Frampton. However what I remember liking and listening to the most was Heatwave & Boz Scaggs that my other brother from out of town played when he moved to Seattle when I was around 8 years old.
When did hip hop enter your life?
1981 when I took a summer vacation to NYC. I witnessed breakdancing for the very time and was hooked
At what point did you decide you wanted to be a DJ?
August 10th 1984. I went to see the Treacherous 3 and DJ Ez Lee was cutting up doubles of some record, spinning around and scratching etc. I was floored. I had to learn that!
What was the Seattle scene like in those days?
It was a lot of fun we were just kids running a muck. Skipping school meeting downtown to battle each other breakdancing, carrying boom boxes around, tagging up etc.
How did Conception Records come about? What was your involvement?
It came about after me and Sureshot got our record deal with instinct. Being a producer I wanted my own label to release the stuff I was doing. I owned the label and was the in house producer. I started the label together with SureShot & Strath Sheppard.
When did you first start collecting records?
I've always liked and bought records since the age of 4. I used to use my allowance to hit the record store. I used to ride my bike to the record store in my teens to buy records and when I got my drivers license I got a job delivering pizzas and at nights end had a pocket full of cash from all my tips. I'd go to Tower records every single night because they were opened until midnight and i'd spend my money I had made on records. There was no rap section then you had to dig to find it in the soul section. I always bought anything I seen on the Profile & Def jam label even if I didn't know what it was because I knew it had to be good. Mind you at this point I was just another consumer not a record collector. I recall one day I came home and could barely walk into my room because of the the record collection I had built over the years. I was still not a collector I just bought what I liked. I've always done such. I really wouldn't consider or call my self a collector until the early 90s. I noticed certain records i'd see everyday starting to dry up like all the Blue Note and CTI stuff. Stores would tell me how some Japanese and British customers had just left and bought them all. At that point I thought I better start buying stuff up if I want it or it's not going to be around any longer. It was then I had to break my $8 a record spending budget and started buying $15 to $20 records. The first record I paid a grip for and was sick about it was a mint og Skull Snaps lp for $75 around '93 and I thought i'd lost my mind.
How many records are in your collection at this point? How are they organized?
I don't count them but I keep adding to it and get rid of some from time to time as well but i'd say around the 50,000 mark. They were in perfect immaculate alphabetical order until my friend Gene Brown came to stay with me over ten years ago. I woke up one morning and he had them out all over the place going through them. Then I moved a few times and forget about it. There's no rhyme or reason to the order and it's kaos.
What other sorts of things do you collect?
Blaxploitation posters & memorabilia, board games, lunch boxes, acton figures, art, boom boxes, sneakers, hats, jackets, bicycles, toys, movies, tape reels, magazines, trading cards, sunglasses, turntables, mixers, anything funky
Has Serato changed the way you play records out?
No.
Whats the worst thing to happen to you at a gig?
I got vertigo really bad one night. I was trying to hold my self up with my hands on the wall while dj'n and vomitting all at the same time. It felt like the club was on a wave and spinning in circles.
How do you deal with requests?
I just say yes to get them to go away. If they continue to come back I tell them I played it you didn't hear it?!
Have you been involved in any reissue projects?
Yes Lialeh, Dolemite, Wayne McGhie, T.L. Barrett, Wheedles Groove, Status Breaks, and others I don't recall off the top of my head.
How did the Weedles Groove compilations come about?
I met with the owner of the Light in the Attic label for lunch one day and he asked me if I could re release anything what would it be. I said all these Seattle funk 45s I have
We're the artists you reached out to receptive to the project?
9 out of ten were. LOL
How is the scene in Seattle now?
I think it's great and it's highlight. A lot of the funk guys have reunited and are playing out again, rappers are winning grammys, producers are doing major label stuff, there's some real talent here right now the best it's ever been.
Where do you see DJ culture headed?
Lots of new technology so you'd think that people would get very creative but most are getting lazier. I think the og culture as we know it will always be around as long as long as true djs preserve it. I've got three out of town bookings just today to play VINYL only parties. I love and embrace technology but at days end it's how creative you can get with it. Some djs kill it with the stuff they can do with controllers but with that being said most don't. The culture is very popular right now and i'm sure will birth some new super star djs and I support that to the fullest.
What are you listening to these days? Does current music appeal to you?
I listen to the same stuff now I did 10-20 years ago. Classics never die and there is no expiration date on good music. If you find a record from the 70s that you've never heard before it's new to you no matter the date it was released. I don't like new popular music. Mind you I didn't say new I said new and popular. Pop (ular) music is awful. There's tons of new music I love.
What makes a good DJ great?
When all's said and done the art of selection trumps anything else
What's next for you?
Continuing to do what I do to represent and keep the true culture alive for as long as I can while being the best person I can be for my family, friends and self
Supreme La Rock posing with five of our Rich Medina 45 bags. Keep up with him on twitter, facebook, on his website, and on Hot Peas and Butta
Interview With DJ Nu-Mark
DJ Personify | Welcome To New Orleans Mix
Welcome to New Orleans, a mix by DJ Personify, is the first in a new series of DJ mixes curated by Tucker & Bloom. Focusing on regional music, each mix will feature a DJ and record collector who specializes in the musical history of their town.
Welcome to New Orleans: A tribute to New Orleans Funk and Soul is the work of New Orleans native, DJ Personify. Raised in the Crescent City, the die-hard Hip-Hop fan learned early on that many of the samples he discovered originated in New Orleans. He soon became infatuated with the Funk and Soul music recorded there and has spent the better part of the last twenty years immersed in the culture of those records. Personify’s passion for New Orleans' music and culture extends to the present day and is manifested in this DJ mix masterpiece. Lovingly compiled, all of the artists featured on the mix are native to New Orleans with the exception of Hugo Montenegro who plays alongside Al Hirt (a New Orleans native) and The Headhunters, who are included here because of their work with Bill Summers (a life-long New Orleanian.) All songs and samples used on this mix were recorded from vinyl sources.
We hope you enjoy!
Physical copies of the mix are available here.
1. Intro
2. Betty Harris - Break in the Road (SSS International 1969)
3. Lee Dorsey - Give it Up (Amy 1969)
4. Lagniappe Breaks, Cuts and Scrapes Interlude
Aaron Neville - Hercules (P-Vine Records 1987 / Original Release Mercury 1975)
The Meters - Just Kissed My Baby (Reprise 1974)
The Meters - Look-Ka Py Py Drums (Josie Records 1969)
The Meters - Here Comes The Meter Man Drums (Josie Records 1969)
Lee Dorsey - Get Out of My Life Women Drums (Amy 1966)
The Meters - Cardova (Josie Records 1969)
Eddie Bo & Inez Cheatham - Lover and a Friend Drums (Capitol Records 1968)
The Meters - Hand Clapping Song (Josie Records 1970)
Salt - Hung Up Drums (Unofficial Bootleg 2001 / Original Release Choctaw 1972)
Al Hirt - Harlem Hendoo (RCA Victor 1967)
5. Salt - Hung Up (Unofficial Bootleg 2001 / Original Release Choctaw 1972)
6. Eddie Bo & Inez Cheatham - Lover and a Friend (Capitol Records 1968)
7. Enticers - Thief (Coalition 1972)
8. The Meters - Thinking (Josie Records 1969)
9. Cyril Neville - Gossip (Josie Records 1969)
10. Porgy Jones - Catch Joe Potato (Great Southern 1972)
11. Headhunters - God Made Me Funky (Arista 1975)
12. Wild Magnolias - Corey Died on the Battlefield (Polydor 1974)
13. Al Hirt & Hugo Montenegro - Sentries Change (RCA Victor 1970)
14. James K-Nine - Live It Up (Federal 197?)
15. Eddie Bo - Hook and Sling Part 1 & 2 (Scram Records 1969)
16. Abraham - Hook and Boogie Part 1 & 2 (Hy Sign Records 1972)
17. Smokey Johnson & Company - The Funkie Moon (Intrepid 1969)
18. Eddie Bo - Check Your Bucket (Bo-Sound 1970)
19. Ernie K. Doe - Here Come the Girls (Janus Records 1973)
20. Mary Jane Hooper - I’ve Got Reasons (Power-Pac 1969)
21. Bonnie & Shelia - Keep Me Hanging On (King 1971)
22. Inell Young - What Do You See In Her (Soul Jazz Records 2008 Limited Edition / Original Release Libra 196?)
23. Betty Harris - Mean Man (Sansu 1968)
24. Explosions - Hip-Drop (Gold Cup 1970)
25. Explosions - Garden of Four Trees (Gold Cup 197?)
26. Marilyn Barbarin & The Soul Finders - Reborn (Unofficial Bootleg 2014 / Original Release Bo-Sound 197?)
27. Eddie Bo & The Soul Finders - We’re Doing It (Thang) Part 2 (Vampi Soul 2004 / Original Release Bo-Sound 1970)
28. The Gaturs - Cold Bear (Gatur Records 1971)
29. Johnny Moore - Haven’t I Been Good To You (Wand 1967)
30. Dr. John - Right Place Wrong Time (ATCO 1973)
31. The Meters - Simple Song (Josie Records 1969)
32. The Meters - Oh, Calcutta! (Josie Records 1969)
33. Warren Lee - Funky Belly (Wand 1968)
34. Robert Parker - Hip Huggin’ (NOLA Records 1967)
35. The Gaturs - Gator Bait (Gatur Records 1971)
36. African Music Machine - Tropical (Soul Power 1972)
37. The Wild Magnolias - Soul, Soul, Soul (Polydor 1974)
38. Inell Young - The Next Ball Game (Soul Jazz Records 2014 / Original Release Big 9 197?)
39. Ernie & The Top Notes Inc.- Dap Walk (Stones Throw+Now Again 2003 / Original Release Fordom 1972)
40. “Candy” Phillips - Timber Part 1 (Atlantic 1965)
41. African Music Machine - Black Water Gold (Soul Power 1972)
42. Willie Tee - Sweet Thing (Gatur Records 1970)
43. Chuck Carbo - Can I Be Your Squeeze (Canyon Records 1970)
44. African Music Machine - The Dapp (Soul Power 1973)
45. Roy Ward - Horse With A Freeze Part 1 (Seven B 196?)
46. Lee Dorsey - Four Corners Part 1 & 2 (Amy 1968)
47. Professor Longhair - Big Chief (Watch Records 1964)
48. The Gaturs - Hunk of Funk (Gatur Records 1972)
49. Lee Dorsey & Betty Harris - Lots of Lovin’ (Sansu 1967)
50. The Gaturs - Yeah You’re Right (Gatur Records 1972)
51. Willie Tee - Teasing You Again (Grapevine 2000 Records 2003 / Original Release Gatur Records 1972)
52. Betty Harris - I’m Gonna Git Ya (Sansu 1967)
53. The Wild Magnolias - Saints (Polydor 1974)
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Ask A Flight Attendant | Noel Dunlap
Last week as I was sitting window side in the exit row on a flight to Philadelphia I witnessed a seasoned flight attendant in a tough situation. The woman sitting in the isle seat my row had someone lift her bag into the overhead and mentioned she appreciated the help because she has "trouble lifting things after having shoulder surgery". The flight attendant, over hearing this, came over and asked the woman if she would change seats because sitting in the exit row required the ability to lift heavy objects. The woman objected profusely and essentially refused to move. This interaction kicked off a string of thoughts. How heavy is that door? How often does the emergency exit get used? Do those flotation devices save lives or are they the modern equivalent to duck and cover? It may sound naive but to me flight attendants have always felt like a secret society. After I landed I headed to social media to see if I could fine someone to ask all these burning questions. This is how I met flight attendant and DJ, Noel Dunlap. I caught up with her hanging out at a Hawaiian beach on a 30 hour layover...
How long have you been a flight attendant?
I started working for a mainline airline in the spring of 2006, 8 years ago. That is very junior in this company. I've worked with people that started in the mid 60's. Even if you've been with the company for 20 years, you're still considered junior.
What made you want to get into this line of work? What are the perks?
A long term relationship I was in had ended and I wanted a change. I decided I was going to get out of town for a while and try to figure out my next move. I spoke with some friends in NY that said i could stay with them while I looked for a job. I played a gig one night, came home toasted and started looking up flights. On an airline website, there was a link for employment opportunities. Flight attendant popped up and I answered a few questions from a quasi personality test. I woke up the next morning and had an email from them. They offered me an interview that following week in D.C. The perks for me, at that moment, were that I was going to be able to leave town with a job and have health and flying benefits.
Do you travel internationally?
I do travel internationally. The first 5 years I was on reserve. That means that I knew what days I was going to have off, but I didn't know when I was going to work and I never knew where I was going to be. Contractually, they have to give you 4 hours notice. So, I have at least 4 hours to prepare for going to Hong Kong or Boise. Reserves work trips that other FA's called off or misconnected or went illegal (there's a bunch of legalities because we are union and covered under the department of transportation. Someone could go illegal if they have a long duty time due to delays or their rest period goes under 9 hours...). Now, I'm on reserve every other month. Everything is seniority based. I bid for my schedule in the middle of the month for the following month.
Do you get to see the cities you fly to, or is the job mostly on and off of planes?
Internationally, you are usually given at least a day or more, depending on how long the flight is. Domestically, you are given anything from a minimum legal rest to over 20 hours. Longer layovers (anything over 20 hours) have to be in a downtown area with access to food and shopping. If I've never been somewhere before, I try to do all of the touristy things first (The Great Wall Of China, Liberty Bell, museums, etc) then I look for record stores and thrift shops.
How does lodging work? Do you have shared living spaces on the road or does the airline put you up in hotels?
We are given our own rooms and they provide transportation to and from the airport. The union has a hotel standards board for safety, quality and access to food.
What are your favorite routes to fly? Any particular cities you enjoy visiting?
I don't really have a favorite route. I like laying over in places where I can see friends I probably wouldn't have much contact with otherwise. Hawaii is nice and relaxing. Working the flight is amusing. The passengers are known as "breast fed, just wed or nearly dead". Beijing and Shanghai are good for getting clothes altered or made. The massages there are awesome and ridiculously cheap, $10 for a 2 hour massage and you don't even leave your room. Europe is cool for digging and thrifting. Sydney is beautiful, but probably my least favorite layover and definitely my least favorite flight to work, next to China. I could write a book about working the China routes.
You are a DJ as well, are you able to take gigs while on the road? Ever find time to look for records while traveling?
I've never played out on a layover. I suppose if I played Serato I might have. I also know that if I made plans like that, my flight would misconnect or my assignment would change some how and I would be on the opposite side of the planet. When at all possible, I make time for digging, thrifting and museums.
How do you deal with some of the more difficult passengers on a long flight?
Most difficult passengers don't start to become difficult in the air. Their first encounter is with customer service. CS usually let's us know, but we can usually pick them out. They are treated like an unruly child. Their rude or bad behavior is ignored and they are treated with politeness. Most of the time they just want some one to listen to them. Traveling is stressful. When you fly you give up most of your comforts and control. My favorite response is a compassionate stare followed by "that's unfortunate". From time to time you get those that just want to keep pushing. I have had people removed before takeoff and I have had the authorities meet a flight at arrival. Threats and not obeying a flight crews commands are not taken lightly (I'm not talking about fastening your seat belt or turning off your phone). The Captain has the final say and the Captain always has our back. He or she will assess the situation and try talking to the person themselves. This usually works.
Have you ever dealt with an emergency in the air? How did that go?
FA's go to recurrent training every year. For 2 days we are retrained in the worst case scenario of an event. Medical emergencies are quite common. I have dealt with someone appearing to be having a heart attack, appearing to be going through withdrawal, appearing to have alcohol poisoning. No one has ever appeared to have died on my flight (thank goodness). I use the word "appear" because I am not medically certified to know if these events are actually taking place (airline company language). There is almost always a doctor or some medical professional on board. We have oxygen tanks and medical kits available with everything needed to sustain someone until we can land. It's scary, but that training definitely kicks in like second nature.
How do you cope with long layovers? Do you have access to airport lounges or are you ruffing it fighting over outlets with the rest of us?
Long sits between flights are rough. It makes a long day even longer. I always have a book and there's always words with friends and shopping on my phone. We can fly about 9 hours of combined flight time before we time out. That's just flight time, our duty day can go up to 15 hours. If you see a FA on the ground, they are not getting paid. Our pay is strictly flight time. If a sit is scheduled over 4 hours, we get a hotel room. I said scheduled, this means a delay does not count. The airlines are smart and they schedule sits for 3hours and 50 minutes. We are pretty much roughing it. If the airport is at a base, there is usually a crew room for us to go to.
What is your favorite airport to fly in and out of? Favorite airport restaurant?
My favorite airport to fly into is SFO because that means I'm home. My favorite airport to fly out of is what ever airport is the last one before SFO. My favorite restaurant at an airport is McDonald's. It's my guilty pleasure. I order the #2 special with extra pickles. I won't eat it in front of anyone. I don't eat the bun, so I put the fries on the burger and use the bun like a wrapper to push the patty up.
Does it bother you when people tune out the emergency briefing? Anything we should not be ordering off the drink cart?
It's rude and it does bug me a bit. People don't pay attention because they don't want to think about it happening. Ordering drinks and food on the airplane is fine. The food is full of salt and preservatives, but there's nothing unsanitary about it.
How do you pack? Any tips for the common traveler?
I bring 1 pair of sneakers, 1 pair of flats, 1 pair of flip flops, loose comfy pants, 3 tank tops, a hoody, a pair of black jeans, 3 t shirts, a dress or a pencil skirt, a bikini, 7 pairs of underpants, 4 bras, 7 pairs of socks and pantyhose and a scarf. I use packing cubes for my clothes. I wrap my shoes in shower caps. I Clorox wipe everything in my hotel room: light switches, toilet seat, door handles and i put the tv remote in a plastic bag. If I have to deadhead (the company flies me to my next segment or home because of a cancellation) I wipe down everything around me on the plane: seats, tray table, armrest. I'm not a germaphobe. It's totally normal, right? I won't even break down my logic behind this, you can figure it out. Do not walk around the airplane barefoot or in socks, especially in the bathroom!!Do not talk to a flight attendant about a plane crash unless the plane you are on is crashing.Bring your own food. If you have food allergies, bring your own food.There is no microwave oven on the plane to heat up your soup.We do not provide diapers.Bring your own refillable water bottle, I'll gladly fill it up for you.
Do you work with the same people?
I rarely work with the same person twice. However, I have worked with the same personality several times. This can be both good and bad. It's a lonely job and working with the wrong personality can really bring it out. Looking at someone's photo album of their cats birthday party and that someone is your flying partner, makes for a depressing time. This could go on for days!
How often are you home? What does a normal day look like for you?
I'm home about 12 days a month. I usually work a 6 days on, 2-3days off schedule. It's all I can hold at my seniority. It's hard to maintain friendships when your gone so much. I have to make an effort to reach out to people when I'm home. Being around hundreds of people all day makes me want to isolate myself when I'm home. I want to go out and kick it, but I still have laundry to do and groceries to buy. I have people over for dinner a lot so I'm close to my bed. I usually cook and pack my own food. Everything about this job does a number on your body. I eat healthy (I cook everything with bacon fat and drink at least 2 chocolate strawberry milkshakes a week. Your body needs fat.), work out (I practice Pilates and sometimes that means watching a video on my phone while laying in bed) and meditate daily. I've completely lost my body clock. I sleep when I'm tired, usually in 4 hour intervals. Pilates and swimming can usually get my sleep on track and keeps me energized. This summer travel season has been rough. I usually play with my records when I'm home. The last few weeks have my turntables looking like a Lazy Susan with candy and water bottles toothpaste and a coffee mug on them.
What's the best seat in the house if you're flying coach?
If you're flying coach, try to get an exit row seat. If there are 2 exit rows, one behind the other, get the one behind the first exit row. The seats in front of it don't recline. Otherwise, any window seat towards the first half of the cabin.
Craziest thing you've seen a passenger try and pull off?
Folks will try to get away with whatever they can. The first thing that comes to mind is the fort/tent made with blankets tucked in to the back of the headrests. Totally normal if you have a kid trying to sleep. Totally not normal if you're trying to make sexy time with your partner.
Do you still love travel or has this changed your relationship with it?
I still love to travel and I've taken advantage of my travel benefits. It really is the only reason to do this job. The ins and outs of the job can be thankless and mentally and physically challenging. That all goes away when you can dash over to Hawaii to meet up with friends or ride a friends coattails on a whim to stay in the South of France for 2 weeks and their employer payed for 5 star accommodations.
If you could give every traveler one solid piece of advice what would you recommend?
Bring your own food and reusable water bottle. Do this especially if you have dietary restrictions (vegan, gluten free, etc). The food supply is limited and there aren't a whole lot of options. Pack a lap blanket or warm clothing, especially if you are going to be seated in an exit row. Bring your own entertainment, airlines are phasing out entertainment systems on newly configured aircrafts.
Interview With DJ and Producer Doc Delay | Piecelock 70 Records |
Who is Doc Delay? What do you do?
Doc Delay is my super-hero name. A branding from my graffiti days in the early 90s. I'm a producer, lifetime DJ, and fan of music.
How long have you been making music? What started it all for you?
I have been manipulating recorded music since I was a little kid. I played piano and guitar most of my life as well, but i didn't really start making songs until about 1994.
What is your production set up looking like these days?
I share a studio with a friend. It's pretty serious. We have a lot of outboard gear. Tube pre-amps, old mics, synths, transistor organs, vintage drums, ect.
From what I've seen you have a good amount of analogue gear, what are some of your favorite pieces?
I really like the old effects and combining them in different chains. I have a Maestro G-2 that I use almost too much, but my favorite piece of gear is a 1967 Gretsch Country Gentleman. The sounds i get out of that thing are amazing.
Are you sampling drums or them playing live?
Depends. Sometimes both. Sometimes I don't use drums at all. I'll just record a bunch of layers of percussion individually. Recording drums is tough. I have been getting pretty good at it, but every drummer plays different.
What does an average day look like for you? How often are you in the studio?
Since we opened the new spot last August, I've been in there about 3 days a week on average. I usually have a plan when i arrive and i hit the ground running. Sometimes it goes as planned, sometimes it takes a weird turn and ends up being something totally different, It's never a waste of time
The latest release "Morgan" is a bit hard to define musically. With spacey rock elements, synthesizers, vintage vocal samples and hip hop style drums. What was it like creating the project?
That record is something I have been trying to make since the 90s. I always wanted to make a sample based album but was never really given the opportunity until Morgan came out. By that point I had almost moved on from sampling altogether. Too many squandered opportunities due to the legal limitations of that medium.
This was your first "album" correct? How did you link with Piecelock 70?
I have a few earlier EPs, but yes, that is my first full length. I have and will always make pretty deep DJ mixes. Thes from People Under the Stairs was a fan of those mixes and he gave me the opportunity to make an album.
I read somewhere that your neighborhood in Brooklyn played a part in the creation of the album. How is that?
It was actually one street that was a corridor between my apartment and the studio where i mixed the record. The walk was where i listened to everything i was making, so i named the album after that street. The neighborhood got super expensive, and the studio closed as i was wrapping up the record. It was really a goodbye to that era, but my new studio is in the same neighborhood, so i still walk the same route. doh!
Where are you looking musically for inspiration? Is it important for a producer to be a DJ?
Being a dj has given me an interesting insight musically, but i wouldn't say it's important to production. If you make pop music i suppose it could be. if you are interested in producing a unique product, knowing whats out there could never hurt.
Are you still digging for records? Can you recommend something the people might not be up on?
When I think of "digging," I associate it with early mornings at flea markets and road trips. What I do now more closely resembles casual record shopping. Stuff still falls in my lap from time to time. I was just in Cape Cod, and stopped at a thrift store on my way home. There was a mint Village Callers LP in the bins for $2. I recommend that people get out and interact with folks in their community. Every town in the US has an old music legacy. Find the older generations and listen to their stories. If you do that, the records will find you.
Most ridiculous "in the field" record find?
I'm not sure how to quantify that. Is that a rarity thing, a crazy story, or value? I bought Skull Snaps from a homeless guy across the street from my apartment for $0.25 once. I found a really weird vietnamese bootleg of The Meters first LP that was brought back by a veteran of that war. I once bought a hip hop collection that required two trips completely filling every empty area of my Honda prelude. The muffler was dragging on the asphalt, it was so heavy. I bought a collection from a drug dealer's ex-girlfriend who failed to notice the $1400 in cash stashed in between album covers.
What's the worst thing to happen to you at a gig?
Getting dragged out of the club by a cop, and having my face smashed against a tree.
iTunes or Serato crates? How is your digital music organized?
I like to organize Serato crates by crowds who i affectionately name things like,"Fat Girls" or "Art School" or "Fraggle Rock"
Favorite love song?
Thats a tough one. My friends did a cover of James Brown's "Try Me" at my wedding.
Whats next for Doc Delay?
I'm working on a new album with my insanely talented friend and neighbor, Zack Martin. We never really set out to make it any particular style. We just started writing music and it's lead us in the direction it wants to go. It's a huge leap for me technically, stylistically, and musically. Some of the best stuff we're making is a result of compromise. That's something you never learn making beats.
Check out Doc Delay's latest record MORGAN here, follow him on Soundcloud, and Facebook.
10 Things Turntable DJs Should Pack For Every Gig
There is nothing worse than showing up to a DJ gig unprepared. Bringing the right cables, backups, and equipment with you is vital to a proper performance and important for piece of mind. Full disclosure here, this isn't a list for mobile DJ gigs ( the ones where you are required to bring a full speaker set up and mobile rig). This list isn't designed for strictly vinyl sets, although a lot of the content crosses over. As a matter of fact this isn't designed to be the end all be all of lists! It is designed to extend beyond the short checklist (Slipmats, Needles, Headphones, Laptop, Stand, Charger, Control Records) for those of you playing club dates on turntables. So lets get down to brass tax.
In my mind a good DJ is 30 percent Uhaul, 20 percent librarian, 40 percent performer, and 10 percent Radio Shack. Let me break this down a bit. Uhaul is simple, you haul all your stuff to and from the gig, on and off of planes, trains, and automobiles. I'm not going to cover musical organization ( the Librarian aspect of the job ) on this one, but that's a doozy. I'm only going to cover "Radio Shack". Simply put when you are at a gig and something is wonky it is your responsibility. No one cares if the club has rats chewing up the cables all night, if the show stops you look bad. Now I'm not saying bring 30 feet of XLR cable to every gig, but you need to be prepared.
- First things first, make sure that you have a couple of back ups. You never know if or when something screwy might happen with your laptop. It doesn't matter if you are rocking with a brand new Macbook Pro or a 10 year old IBM ThinkPad, things happen, and its best to be prepared. Keep a USB stocked with enough music to play for at least 3 hours in your bag. If something happens to your laptop prior to a gig you may be able to play off of another laptop. Thats a pretty simple and inexpensive backup and honestly, it wouldn't hurt to have a couple of those handy.
- Always bring a few classic 12 inch singles with you to a party even if you're only playing on Serato. Things happen, you may need to reboot your computer and play all of Rappers Delight, or throw on an extended disco edit while switching out between DJs. I've seen guys try and switch out in between sets without these and it can be near impossible on some setups. You don't want to be the guy standing behind the decks while the crowd parties to dead air. Not a good look.
- It is important to have a few stand by pre-recorded mixes on an iphone, or ipod, your laptop, or on a CD. As a safety net run a RCA to 1/8th inch cable in to AUX in on your mixer (most have this) just in case something happens to your computer. It can come in handy if you need to take a request that you haven't got and can save you in the case of an emergency. A buddy of mine was doing a NYE gig at club that was broadcast on air and right at midnight had a giant CO2 container dropped on his foot resulting in a trip to the ER. Just saying, things happen and that mix might just be the thing to buy you a little time.
- Back up your back ups! I know guys who have had their bags or laptops stolen on the road, which has to be up there as worst possible scenario. I'm thankful that hasn't happened to me, but it ins't outside of the realm of possibilities. More commonly hard drives crash or computers won't boot so keeping your files backed up on an external is vital. I would even say it's better to go one step further and use an additional cloud back up software to make sure you don't loose your library. They are getting way more affordable (I pay around $13 a month for unlimited backup space and can connect all of my computers). While it might not help at a gig if your bag is stolen, having your files backed up for a replacement is crucial.
- A dedicated laptop charger. You know how it goes. You we're organizing music before the gig or watching Netflix on your laptop and forgot to pack your charger. This happens to everyone. Buy a second charger and keep it in your bag at all times.
- You need a cable bag. We make one you can get here...and while I am completely biased, it works great! Once you get all the stuff below sorted you can keep the cables in the bag and not worry about them.
- Spare needles and head shells. Most of the "needle cases" have slots for 4 head shells. Get two sets and keep your stylus in tip top shape by brushing them off and use canned air to blow off gunk on a regular basis. It's not a bad idea to keep a small brush with you just in case.
- Cables. You need these, lots of them, and in different lengths. I personally buy them on Amazon by the gang and wrap them individually with velcro cable ties. This keeps them neat which means you can bring a bunch of them in case something happens. Random cables to have on hand : Four RCA cables. One RCA to 1/8th inch. Two 25.-XLR adaptors. Two "printer USB cables", Two USB to Mini USB for Dicers and other random electronic devices. One 1/8th inch to 1/8th inch cable for Dicers ( if needed). Use velcro ties to keep them tight and in order, they are cheap and will make your life so much easier. Color Code them. You know how the back of a club mixer can get, cables going everywhere, dust, and some random dudes business card crumpled up back there. I recommend getting some colored electrical tape and color coding your cables. For example I use green tape for my RCA cables, yellow for my mixer cable, blue for my turntables, and white for USB's. It just makes things easier to look at, and makes it harder for someone else to walk away with my cables. I would recommend that while your at it you personalize your power cord for your laptop and your needle box, a lot of these end up looking the same, and someone will take yours if you aren't careful.
- Deoxit. You know how folks lick the back of their head shells? Don't do that. Instead get one of these Deoxit pens. I've been carrying one of these with me for a while now and they work great. You can clean the connectors on your head shells with them and even get inside where the tone arms meet. A lot of the time if I'm getting a wavy signal in Serato this will shape it up.
- A little screw driver and a flash light can help if you need to fix a janky mixer. You can get an eyeglasses repair kit for a couple of dollars at almost any pharmacy. They are small, light weight, and can come in handy. Rane crossfaders can fall if they aren't screwed in and really, who likes to play on a beat up mixer. This can also help if your head shells need tightening down....or if someone steps on your sunglasses while you're crowd surfing.
I hope this helps. Make sure to bring some business cards with you for the end of the night and remember to have fun!
