text:
Deyson Rodriguez is a photographer and creative based in Miami, FL.
For more of his travel and lifestyle images check out his Instagram and photography website.]]>
In the design process we are always asking questions in an effort to solve problems. Although repetitive the action sometimes leads you to a place you might not have gone. After a few years of road testing the Rich Medina 45 Bag and working on some other record bag related projects we started asking some questions.
What if we could develop and accessory pouch that clipped into place on many of our existing products making access and organization easier for our customers?
What if this was a pouch you could put a book, a tablet, ear buds, and your passport in to used during an international flight? What if that pouch was connected to your existing duffle bag strap until you removed it and headed to your seat on the plane? Almost like an electronics dopp kit for inflight activities ( and ear plugs )
What if this same product worked for our record bags, allowing DJs to clip on extra space for headphones, adaptors, and cables?
We are proud to introduce the Sailor Sack. Designed for utility in the broad sense, the Sailor Sack currently works in conjunction with our Rich Medina 45 Bag line as well as both the London and Tokyo Duffle bags.
The product is available here!
Here are the nitty gritty details:
Secret Slip pocket obscured by the back handle and secured via mag snap.
Available in Black, Olive Green, and Woodland Camouflage
We've been busy bees over at Tucker and Bloom shop in Nashville! The Holidays are right around the corner and we've got a few things in the pipeline for the season. Meet the newest member of our leather tote family, the Greenwood tote.
"The Green Wood Leather Tote bag features a generous main chamber large enough to accommodate a days worth of necessities and deep organizational slip pockets on both the front and back panel of the bag. Made from premium grade locally sourced bison leather, the Greenwood tote features handles that run the length of of the front panel into the bottom seam of the bag, providing extra structural support to ensure a dash to catch the last train doesn't turn into a scramble to pick up your scattered items on the platform. The bags supple leather handles are long enough to fit comfortably under arm but are rolled to fit securely in hand. Just like all Tucker & Bloom products, the Greenwood Leather tote bag includes our lifetime warranty."
It is now available in our shop. Check it out here]]>
"Tucker & Bloom's flagship North to South Messenger Bag ups the bike bag game in a big way. Instead of some form of nylon, this hauler is made from a supple but tough bison leather that definitely stands out in a crowded San Francisco bike lane. But it's not just made to show off. Inside it's big enough for your laptop plus a stack of vinyl and a trusty rain jacket. Thanks to the cycling-specific cross-body shearling strap, it will always stay put while you weave through morning traffic. Inside, Tucker & Bloom cleverly lined the bag with bright orange fabric, which adds a touch of style but also makes it easy to find your keys, even in low light".—Greg Thomas, associate editor
Check out the entire list here.]]>
ATLANTA! Saturday February 13th FUNKY GOOD TIME is coming to Aisle 5 for a very special event! Being that it is the night before Valentines Day we figured it was only right that we bring you the best Funk, Soul, Disco, Latin, Boogie, and R&B love songs we've got served pipping hop via the vinyl medium!
DJ's Ree De La Vega, Cullen Cole, Bowls, and Case Bloom on the wheels! William Reiss on the drums! LET'S DANCE!
Funky records! Live Drummer! Dancing! AIRHORN!!
SATURDAY FEBRUARY 13th. 10PM. $5 COVER Or Free with EMAIL RSVP
( Please confirm your email to be added to the guest list!)
New Balance – "Made in the U.S.A" from DIGITAL KITCHEN on Vimeo.
"New Balance is the only major company to make or assemble more than 4 million pairs of athletic footwear per year in the USA, which represents a limited portion of our US sales. Where the domestic value is at least 70 percent, we label our shoes, "Made in the USA.""- New Ballance]]>
Philadelphians and lovers of record culture! Our friend Junior of Record Breakin Music is helping to put together an art exhibit exploring the relationship between music, album art, and social justice. The project involves some incredibly talented DJ's/record collectors ( Cosmo Baker, Rich Medina, Skeme Richards, King Britt, and Junior ) and is on KickStarter now. They are offering some great prizes (including a few of our bags). Head on over and support these good people doing good things!
Dust + Dignity is an educational experience promoting dialogue + advancing social justice through the exploration of the relationship between music and visual art. In March 2016, we will curate an exhibit featuring an audio tour with over 100 vinyl albums covers -- hand-selected by five of Philadelphia's most prominent DJ-Vinyl Collectors: Cosmo Baker, King Britt, Rich Medina, Skeme Richards, and DJ Junior.
Today, we are experiencing an outing of the racial ignorance that has long existed in our city, country, and surrounding world. Born out this injustice and in response to the ignorance is art. In art, we find sound. Music keeps us together; it heals and connects -- it motivates and celebrates. Lyrics give life to our souls, the melodies align our hearts, and the rhythms stoke the fire our movements. Often-overlooked is the powerful connection between an album's music and the accompanying album visual artwork that binds it all together. From Gil Scott Heron's "Moving Target" to Kendrick Lamar's highly-acclaimed 2015 release, "To Pimp a Butterfly", the evolution of album artwork has transmitted the dynamism of music and social injustices. Curators: Bruce "DJ Junior" Campbell Jr. - recordbreakin.com, Angie Asombrosa-Cuurlzzz.com, Sarah Mueller - cineSPEAK.org, King Britt - kingbritt.com, Cosmo Baker -cosmobaker.com, Rich Medina - richmedina.com, Skeme Richards - hotpeasandbutta.com
Instagram: @DustNDignity
Twitter: @DustNDignity
Facebook: facebook.com/DustNDignity
The Dust N Dignity Production Team + Collectors are full of wildly passionate expert artist-educators, movers + shakers, world-class djs, artists, event planners, and long-term residents + lovers of our great city of Philadelphia.
We are all incredibly excited about the opportunity to bring this first-of-its kind exhibit and events series to our city. We know that it will bring together the rich diversity of our communities and showcase the vast treasures of these vinyl connoisseurs.
Thus far, this been a joyful journey and we can't wait to see it come fruition. We've been blessed with great support from local business owners, the Painted Bride, and the record collectors themselves. We know it won't be without challenges but we feel that we got this down. We'll keep you posted with updates all along the way.
In advance, that you for your support! We could not - would not do this without you. Much love, the D+D Team.
Big thanks to Alberto over at Cannonball Records for sending over this mix! Pump your Monday morning up with some obscure soul and another coffee!
Cannonball Allnighter is a twice-a-year event and it is held in Emilia, an Italian region located in the heart of our boot shaped peninsula. Residents Malayka, Soulful Jules and Alberto Folpower. The mission is to go beyond the boundaries of the talc-fist-baggies heritage which we respect and consider the foundation of the deeper dig in the African American Music culture we pursue. The matter is not only how rare the tunes are but also the research and the taste the DJs have. We are committed to inviting international and domestic deejays who walk along this side of the path, the soulies attending are growing in taste the same way we grow ourselves. The area where the Cannonball Allnighters take place are stunning, along with the best country food Italy can offer. We put these features alongside our vision of the soul music and family feelings that were able to create as Italians"
Cannonball Soul
Cannonball-ize Yourself! by Kieran Lockyear on Mixcloud]]>
Tucker and Bloom is pleased to announce that the company will be having a holiday pop up at the Deadly Prey Gallery in Chicago to display their bags, design books, accessories and more. Representatives from Tucker & Bloom will be available on Friday, Saturday and Sunday, December 18-20, from 12 pm through 6 pm. The Deadly Prey Gallery is located at 1433 W. Chicago Avenue in Chicago.
"This Friday night! Tucker & Bloom has moved into Deadly Prey Gallery for a couple weekends, and we're having a house party Friday night to kick off our last wknd in the space. We've got yr last minute shopping sewn up: T&B's handmade DJ bags, messenger bags, totes + more will be on display, as well as select records + design books for you to peep. A stable of DJs will be keeping it nice, there's beer and wine (cmon, it's a gallery opening), and some other surprises are in the works. Come hang. Tucker & Bloom Deadly Prey Gallery"
Duffels, backpacks and messenger bags are among the goods that will be available at the Deadly Prey Gallery during the pop up sale. Accessories which Tucker & Bloom designs and offers show an understanding of how technology and gadgets play a role with today's commuter or traveler. Cord management bags, laptop sleeves and wallets are included in the product line.
Nashville friends! Be sure to join us Friday December 4th and Saturday December 5th at Silver Point Studios for Porter Flea!
Silver Point Studios, 10 Quality Way Nashville, TN 37207
Event Hours:
Ticketed Preview Market – Friday, December 4th, 6 – 9 PM (Indoors, Rain or Shine)
Main Market – Saturday, December 5th, 10 AM – 5 PM (Indoors, Rain or Shine)
Friday, December 4th – $20 BUY TICKETS HERE
Saturday, December 5th – FREE, all ages
Porter Flea returns on December 4th & 5th for our tenth modern handmade market event: Porter Flea Holiday X. Get ready to be a part of the festivities!
To celebrate ten markets ("X"), we want to feature some special design collaborations between the area's best makers. We want to showcase the incredible creative talent in our community by pairing up Textiles x Apparel Design, Screen Printing x Furniture Design, Pottery x Jewelry, and many other unique design collabs for the most outstanding handmade gifts in the southeast.
It keeps getting better: for PFX, we're moving back to East Nashville with a massive new venue — more heated space for more shoppers equals maximum convenience. With the extra capacity, PFX will also feature both the Porter Pantry and the Porter Parlour offering some of the finest artisanal food products and handmade personal care and beauty products to help make holiday gift shopping a cinch.
Porter Flea Holiday X will run over two days at Silver Point Studios on Quality Way starting Friday evening, December 4th, with our ticketed Preview Market from 6 p.m. to 9 p.m. Our Main Market will run 10 a.m. to 5 p.m. on Saturday, December 5th, with open access to more than 100 talented, jury-picked vendors, thousands of one-of-a-kind handmade gifts, a collection of the city's finest food trucks, and just the right amount of holiday cheer. Come join us and see why PFX will set the new standard for Nashville's modern handmade marketplace.
First organized in July, 2011, by Jessica Maloan, Brent Elrod, and Katie Vance, Porter Flea was named Best Artisan Market by the Nashville Scene in 2012 and has earned additional praise from Forbes Travel Guide, The City Paper, Southern Living, NATIVE, The Nashville Ledger, The Murfreesboro Post, StyleBlueprint, Etsy, and several local bloggers.]]>
OUTSIDE Winter Buyer's Guide 2016
Nashville (October 29, 2015) – OUTSIDE, America's leading active lifestyle brand, has selected Tucker & Bloom to be featured in their Winter Buyer's Guide as among the best gear to have for the winter sports season. The Ranger Market Tote was reviewed in the Best Women's Après Gear of 2016 category. The entire selection of products appears in OUTSIDE's Winter Buyer's Guide, on news stands September 29.
From winter running shoes and weatherproof cameras to snowboards and avalanche airbags, the OUTSIDE gear team tested hundreds of products to determine the best in gear this year for the Winter Buyer's Guide. Featuring the most innovative products, killer deals for the price-conscious consumer, and expert ideas for winter outings, it's the ideal resource for budding adventurers and outdoor aficionados alike. Reviews are organized by sport and activity, and include the ideal setting or experience level for each product, as well as tips for getting the most out of each gear pick. Only the best items on the market make into the pages of the Guide.
"We're thrilled to see our Ranger Market tote in the buyers guide! We put a lot of love into our bags and we're happy to see that felt by the team at Outside Magazine!"- Case Bloom
"Great gear is essential to making the best of our time outside, and for many of us, it's the most valuable investment we make," says OUTSIDE Buyer's Guide editor Axie Navas. "The gear industry is innovating at an amazing pace to keep up with ever-changing outdoor trends, and we want our readers to reap all the benefits of these advances. The OUTSIDE gear team hit the trails and the back country on foot, bike, ski, and snowboard to put all the newest products to the test, and nearly 300 made the cut, with seven top-notch items winning our coveted Gear of the Year award. With the picks from the Winter Buyer's Guide, our readers can be confident they're facing the elements with the best gear on the market."
Tucker & Bloom is a family business with over 30 years in the bag industry, focusing on organizational products, and clean design. They are based in Nashville TN where they make products and drink lot's of coffee.
The complete list of Buyer's Guide selections will be featured in the OUTSIDE Winter Buyer's Guide, available on newsstands September 29.
About OUTSIDE: OUTSIDE is America's leading active lifestyle brand. Since 1977, OUTSIDE has covered travel, sports, adventure, health, and fitness, as well as the personalities, the environment, and the style and culture of the world Outside. The OUTSIDE family includes OUTSIDE magazine, the only magazine to win three consecutive National Magazine Awards for General Excellence, The Outside]]>
If power is measured in Watts, then the Impala Sound Champions are pretty damn powerful. The six-man Chicago-based DJ collective has been running a number of nights covering a spectrum of styles for nearly ten years in Chicago—but earlier this month, the crew unveiled their long-cooking master plan: their very own Soundsystem, a 25 feet wide and over 10 feet high monster of a PA boxed in custom cherry-stained cabinets and topped with vintage radial theatre horns dipped in fresh gold paint. Adding up all of the amplifiers in the back you arrive at…
60,000 watts.
To put that in perspective a little bit, when Duke Reid first carved out his Trojan truck 60 years ago to cart his soundsystem around Kingston he was likely pushing less then 10,000 watts—even as soundsystems grew, they still roughly maintained at around 30,000 watts on average. Many current sound systems on the scene today are still in the 10-15,000 watt range. Despacio—James Murphy and 2ManyDJ's soundsystem built last year in the UK—hovers at 50,000 watts. Impala's beast still weighs heavier on the scale. Pretty sure that it comes at you harder, too—the cabinets are hand-splattered with blood from each of the fellas ("I remember when [Impala member] Tony came over one night and was like, "hey Dave, are we gonna do that vampire shit tonight?" says fellow Impala member Dave Mata).
Being a massive presence that it is, the soundsystem earned a perfect display spot—front and center at the Museum of Contemporary Art, Chicago as part of the museum's quarterly Prime Time series. A soundsystem isn't much just sitting there by itself—you need selectors to push it, and hiphop architect Breakbeat Lou and composer/producer Adrian Younge joined Impala to christen the system with their crates as part of the night's entertainment. And if you're reading this on the West Coast, you're in luck—Mata and the crew plan to truck the system out west this winter to throw some parties on the lawn (something you can't quite do in Chicago in February).
Check the shots.
[photos by Manley]
Spaces, Lines, Phrases, Progression.
If you compare them, jazz and skateboarding are obvious cousins; both have been vehicles for self-expression and magnets for individual thinkers for decades. Both have had tremendous influence on culture (highbrow? lowbrow? no brow? it's hard to tell, and likely a little bit of all). Both deal with spaces, lines, phrases, progressions. Before Spike Jonze paired Mark Gonzales handycam clips to John Coltrane records in Blind Skateboard's "Video Days" film back in 1991, these things existed on their own planes. Arguably ever since, though, jazz and skating have been a more familiar pairing.
Even if jazz, on the whole, is a familiar visual touchpoint now (how many of Reid Miles' Blue Note covers have been "homaged" at this point?), Ian Johnson's been capturing it in a fresh visual language all its own—realistic pen and ink portraits of heavies like Louis, Monk and Miles, but also snares Kennedy-era Free-leaning giants like Dolphy, Ayler, and Braxton—all against Rapidograph-precise backgrounds radiating behind them. As Art Director for San Francisco's Western Edition skateboards, Johnson's been laying his own riffs out on decks (full disclosure: I've bought several) for well over ten years, but it wasn't until I lucked across his monograph, I Know You're Somewhere, in a bookshop recently that I recognized the linework and subject matter from Western Edition decks at home, which put work to name, allowing this interview to happen:
First up, the particulars: Where did you grow up? How long have you been around SF?
I was born in Syracuse, NY. My family moved around a bit and then ended up in SF in 1993. I have been here ever since, barring some time in NYC.
I've read in other interviews that going to art school "wasn't your thing"—can you dig into that a little bit? What was the feeling there? Where there specific differences between the Bay and the East Coast that you remember?
I guess it was more that school in general wasn't my thing. At the time I just didn't really want to be there. I would love to be able to have the time and freedom to study and learn and practice now, but back then I just didn't see what an opportunity it really was. I was just thought it was all bullshit, but didn't realize I could actually learn things and make it more of what I wanted. Then again, I guess I didn't really want anything at the time.
The feeling was that the quality of the students was going down, and anybody could get in, and it seemed like a cop out a bit for people that didn't want to go through the rigors of academia, except for a few people—though I am sure that gets weeded out a bit as you get to the higher years and graduate school. I was mostly into skateboarding and rap at the time, and those scenes were actually pretty similar at the time in NYC and SF.
This may seem like a really broad topic to just jump into, but....jazz? How did jazz become your focus for your art? Was there a connection between jazz and your skating style? Did one come first for you (ie jazz influenced how you skate, or vice versa?)
It was kind of a path of least resistance thing, really. I liked jazz, and did some jazz drawings which were used to start Western Edition with. And each season I'd make new ones, eventually sold some, had some shows and it just kind of naturally evolved. I like kind of having a foundation and try not to just jump on something new because it's trendy at the time. I branch off on occasion, but it is all from the fountainhead of jazz and what I have done before.
There is a connection between jazz and skating for sure, but my personal skating…not much. You have to be much better than I ever was to really achieve that in skating.
Can you talk a little bit about the play between the portraiture and the backgrounds in your work? Radiating lines, big spaces, environments…is this driven by how you visualize music? Or is it more pure expression and composition?
Well the portraits came first, but just drawing from old photographic references gets a bit boring after a while. You're not bringing enough to the table, really. At first, the backgrounds were just a way to fill space.
Later on, I thought about it more as the music—or ideas or perceptions of others of that particular musician's. I don't really visualize music, funnily enough—I try to guess at it, but it is not in fact in my mind in that way. It's a balance between expression of ideas and composition for sure. Mainly I do black and white portraits with color backgrounds, alluding to the physical person being a statue in time of the creation, but the music living on a being vibrant and alive long after the creator.
It's cool to see the range of jazz eras in your work; you've got Bop, post-Bop, Free, Avant....is there a particular era of jazz that you're drawn to the most? I'm seeing a lot of 60s-leaning guys in here.
It changes all the time, but I think for a while I have been mostly into mid-to-late-60s free-leaning people. I just think the time period is fascinating—so much was changing, and sometimes hard to parse out what was genuine and important from what was not. I like that idea. I also like don't like to lean on super popular people as much, and try and learn about other people and hopefully, in turn, get others interested in them possibly.
Are there particular scales/sizes that you enjoy working at? How do you decide what portraits to capture?
Size is really dictated by my studio, which is very small. I often work in pen and ink, so it's just easier for me to draw at a legal size paper scale. I like to work big, but it's more pressure if it doesn't work out good—you have this big piece that just hangs there, mocking you.
I just look for things that speak to me in some way. I prefer ones I haven't seen too often, or at all, and try to crop them or remix them in a way I think will be interesting. Sometimes it works better than others. Sometimes it feels more original than other times.
I'm assuming with a wide range of musicians/covers referenced in your work you spend some time digging for records. Favorite spots around SF? Beyond?
I don't really have much time or space for record shopping anymore. I just go to places on my route to and from work. Amoeba, Green Apple, Goodwill. Groove Merchant is dope, but I never really go there.
Is there someone you'd love to capture in your work but haven't quite "gotten" it down? Is there anyone you're afraid to try to capture? Where do see/feel your work pushing to next?
I don't think I have quite gotten any of them down yet, so anyone, really. I'm not really afraid to fail anymore—I used to be afraid of people that were still alive. I think I will get a bit more abstract and less focused on portraits but always keep a toe in that. But you never know where working will lead you.
How does your work weave into the work of Western Edition? You're obviously responsible of the Out to Lunchseries and some of the one-off decks, but are you responsible for all other graphics, as well? What's your typical day look like around the WE offices?
It's the basis of Western Edition. I am the art director, so I do most everything. Sometimes we have someone come in and do something, but not too often. I work at FTC, and the FTC/WE office is a small desk in the back. A typical day is…I ride my bike there, get a coffee and sit in front of the computer or paper and try to make something. Then I go home and watch my daughter. When she goes to sleep I start working again until I fall asleep or say fuck it, watch TV and drink.
Nashville Friends! Please join us at the 4th Annual Made In Nashville Fest on Saturday September 12th at Centennial Park 2500 West End Ave! We will be set up, selling bags all day, enjoying the music, and hobnobbing with Music Cities finest craftsmen ( and craftswomen ). Sounds like a great time to us and the best part is that all proceeds support the Epilepsy Foundation of Middle & West Tennessee!
What's not to like! Find out more at: www.MadeinNashville.org.
Here's a list of the prizes:
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."
- The Tennessean]]>
"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 email@example.com or @cfarrellecon on Twitter.]]>
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
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
Welcome to Atlanta, a mix by Agent 45, is the second 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.
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.
Listen below and get a free download here
Tucker & Bloom Presents: Welcome to Atlanta by Agent45 on Mixcloud
Insta-Twitter @agent45
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.
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.
Photo credit Dust and Grooves
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?
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
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)
Keep up with Personify on SoundCloud, Twitter, Facebook,, and keep up with the Little Big Things Crew here
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.]]>
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.
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.
I hope this helps. Make sure to bring some business cards with you for the end of the night and remember to have fun!
What Is Paris DJs ?
We're quite unique. We're a label with dozens of releases every year, we've got media on the web with millions of downloads without any promotion, a group of DJs at the Glastonbury festival, and we offer services to artists & labels. We do a lot of things... and basically Paris DJs is the brand. How did the collective start? Here is the official run down. Activists on the musical web since 1996, Djouls & Grant Phabao launched, in 2005 and with the help of former Radio Nova music director (1987-1997) Loik Dury, the ParisDJs.com website, because there wasn't (and there still isn't) any media here in France about "black music" in general - which is what we were producing (and still are). Willie Hutch had just died at the time and nobody was talking about it so we decided to do a mix about Willie Hutch, which was the first mix of our podcast of mixes (now 432 episodes). Eight years later, Paris DJs has become a core institution of that same musical web. A genuine alternative media of music you don't hear on the radio, the site offers news, portraits, interviews, commented discographies, free singles and exclusive mixes. Those mixes have been greatly responsible for Paris DJs' notoriety, with their original artwork, detailed tracklisting and professional mastering. More than 430 mixes have been published up until now, generating more than 3.8 million downloads, without any form of promotion, only through word-of-mouth! The remixes from multi-instrumentalist/producer Grant Phabao have also been going all around the world, with nearly a million downloads of reggae reworks of George Clinton, The Herbaliser, Erykah Badu, Q-Tip and many others, AC/DC included! In 2012 the media website became a label, and started releasing a new single, album or compilation every week. Djouls & Loik are in charge of the artistic direction, famous French illustrator Ben Hito takes care of the graphic direction and Grant Phabao is the one dealing with the audio production process. In a little bit more than a year, Paris DJs released 4 roots reggae albums with Jamaican legends from Studio One (The Lone Ranger, Carlton Livingston, The Jays and The Silvertones), 4 afrofunk & tropical grooves compilations with artists from the whole wide world ("Dis is good for you", "We are the fire inside your mind", "Rise of the troubadour warriors" and "Have you ever been to electric afroland?"), two hip hop compilations ("Take the chains off your brains" and "Spirituality & the supernatural"), and nearly 50 singles. Many artists participated in the project: Shawn Lee, Jungle Fire, Horace Andy, Franck Biyong, Afrodyete (The Breakestra), Doctor L, Lee Fields, Adrian Quesada (The Echocentrics, Brownout), Ocote Soul Sounds, Mop Mop, Goat, Jungle By Night, The Grits, Brownout, Bio Ritmo, Todd Simon's Ethio-Cali Ensemble, The Funk Ark, The Herbaliser, Radio Citizen, musicians from Antibalas, from Fela's Egypt 80, from The Poets Of Rhythm, from The Souljazz Orchestra …. just to name a few. All those releases are available in digital format, on Bandcamp and JunoDownload, and for the compilations and some selected singles iTunes, Amazon, Deezer, Spotify, etc.
What sorts of music are the Paris DJs known for playing?
We're big on the afro, reggae, and funk scenes, and "black music" in general, but not exclusively. There is good music in all kinds of genre. We like soulful, groovy and psychedelic music, but again, not exclusively. If we're asked to do a program of music we're not experts of, we know and have access to the right experts of that kind of music and can make it happen.
Are you still buying records ?
Yes ! Mostly vinyl, but some CDs too. Every month. We receive a lot of free records because we're also an influential media, but that doesn't stop us from buying cool records, and supporting our friends and collaborators. Record stores are a part of our ecosystem, we try to buy from them in Paris regularly.
What is the appeal of 45 RPM records?
WE LOVE 45s. We recently had to do a radio show, 3 hours long, with Loik, Grant Phabao and myself, and couldn't really prepare the thing, or bring lots of records, so we decided that Phabao was gonna play his own tunes from CDRs, and Loik & myself would play 45s. Because it's so easy to carry, and so cool to play. You don't have to think much about which track you're gonna pick from the record ! Recently friends from The Souljazz Orchestra went to Paris DJs to spend a free evening, we listened to 45s all night long ad they loved it - because who doesn't like 45s really ? We've pressed a handful already, and 6 new ones are coming this summer...
What was the label's first release ?
Our first mix was one about Wilie Hutch. Our first free single was a reggae remix of George Clinton approved by the Dr Funkenstein himself. Out first digital release on Paris DJs was a digital single of Grant Phabao and The Lone Ranger paying tribute to Steve Jobs, called "The Iphone Connection", which was an update of an old 1982 tune from The Lone Ranger called "The Walkman Connection". Our first physical release was a poster for the "Dis Is Good For You" compilation. Our first vinyl LP will happen this summer.
Are you guys promoting any new releases?
In 2013 we put out 52 releases. In 2014 we're not releasing quite as much, but we have a bunch of vinyl releases coming. Then in September I'll start putting out something new (an album, single or compilation) every week once again!!
What equipment are you guys working with in the studio?
We'd rather not say much. We use many tools, from old school amps and compressors to brand new plugins.... From old, foreign, exotic instruments to bass, keys, drums, guitar, etc. And if we need a bigger studio to record something specific, we have many places we can work.
What prompted the recent crowd funding release?
Well for years we've put out amazing digital stuff. In 2013 many labels and distributors approached us wanting to make a deal. But ALL the deals we were offered were crookeries. Since we don't want to work just to make other people rich and not be able to live from our music, we decided to keep on doing everything ourselves. Through distribution, there's a 1€ margin on an album. Directly to stores, that margin is 4€. And directly to the consumers/fans, that margin is 8€. That means that selling 300 copies directly is the equivalent of selling 2400 copies through a distributor. But reaching out to 2400 people has a publicist/promo cost, while reaching out to 300 we don't need anyone.... Did you know that it was The Grateful Dead who invented the direct-to-fan concept, way back in 1984? We don't have much cash, so the crowd funding was the obvious way to go. We picked the best tunes we had put out digitally for the last two years, and re-packaged them as a 6x7" box set and a double LP. Already everyone is asking us when we're going to be releasing the next campaign! We might not go through crowd funding in the future though, it kinda only works once.The second time your close friends and family will say they already helped you the first time...
Who does the label's illustration work?
That's a guy from south of France called Ben Hito. He has been around since the 80s, and he's one of the 10 best illustrators in France. Shepard Fairey from OBEY says "Ben Hito is not the French Shepard Fairey, on the contrary I'm the American Ben Hito!". During the summer of 2012 I was asked to do the George Clinton website by his manager who's a friend. He sent me towards Ben Hito to help me with the design/graphics. I met this amazing guy and fantastic artist and gave him the keys to all Paris DJs' image (which I was doing myself before). We have a lot of fun together, he's so great. Of course he has a cost, but working with him brought Paris DJs to a brand new level worldwide.
What do you have planned for the future?
We're doing so many different things around music it's hard to guess what the future will bring us. What I tell everyone is that, considering all the artists we already worked with, and considering the quality of our production, ideas, and sound, our goal is to work with people such as Prince or Stevie Wonder! (and many others until then, of course). But roughly, we hope to become a direct-to-fan operation for us and other bands in the near future.
What's Next for Paris DJs?
We have the Grant Phabao Afrofunk Arkestra album coming, with guests from Fela's Egypt 80, from Antibalas, Jungle Fire, Brownout, Breakestra, The Souljazz Orchestra, Franck Biyong, Sandra Nkaké, Les Frères Smith... We have Grant Phabao tunes with RacecaR, a very talented MC from Chicago who lives a block away from our studio. There's also a Paris DJs Soundsystem FUNK compilation that's nearly finished... Also a series of 50 free mixes which I can't tell anyone about yet, and many new collaborators (singers, rappers, vocalists) waiting for Phabao to deliver new riddims or instrumentals for them to sing on!
Keep up with The Paris DJs on their website , on Facebook, and on Soundcloud
No one knows where Tucker & Bloom is. Never heard of it. That's the first thing you learn when you're trying to find Tucker & Bloom.
The internet sure as hell knows who Tucker & Bloom is. Sites are glutted with glowing reviews of the company's bags. They're legendary in the worldwide record community thanks in part to a collaboration with iconic DJ Rich Medina. And just in time for last year's gift-giving season, Jack White's Third Man Records (motto: "Your Turntable's Not Dead") announced a special edition of the company's popular North To South Messenger Bag, which can hold twenty or more records. Tucker & Bloom have a distributor in the high-end Asian markets, and like that Tom Waits song, they're big in Japan.
But in East Nashville, the floating blue dot of my GPS says I'm here, and I've parked in a strip mall off Main, confident I'll be able to see it. Or Maybe if I walk a little bit, I'll see it.
I don't see it.
There's no Tucker & Bloom marquis in lights or a storefront of sparkling glass; I just see north Gallatin, with its beauty supply stores and cell phone shops and gyro palaces. A barbeque grill that looks like a modified oil drum is belching smoke into the light snow that's coming down.
Case Bloom, the younger half of the father-and-son business, will later describe their company as serving "a global market, but niche. We have to look at them first and foremost." Because of that, Tucker & Bloom don't mind a well-hidden location, and they've succeeded, because the people I've asked—two women leaving a salon, the owner of the barbeque place—have no idea. My interview is supposed to be right now. So I call.
"Can you see a building with an underwater mural on it?"
It's fifty feet ahead, and I walk toward it, hooking left down a long parking lot lined with brown, subdivided factory spaces that seem to get bigger the farther I go. These aren't retail shops; these are the laboratories of mad craftsmen with dust in their eyebrows. In the back corner, where the building forms the crook of an "L," Case pops his head out the door to make sure I find him. A small Tucker & Bloom sticker in the corner of the window belatedly announces I've arrived.
Case is a compact man, efficient, and young, with an intense personality that doesn't waste words. He's wearing a beanie and a sweater and a week's worth of black beard; if it wasn't for his manner, you'd expect him to be loitering in a coffee shop.
The factory layout was designed by Case's father, David Bloom, the other half of the company, based on his experience working for a Japanese fashion company with a factory in Long Island City. It's split between two floors, with the cutting room above. But this isn't so much a sweatshop as it is a toyshop, and from the sewing machines in the center of the room, the detritus of avant garde design gets pushed to the edges: prototype bags clutter an old couch next to David's desk in the corner, and oil paintings and photography look down at the workshop from the walls.
David Bloom is reclining in an office chair in the back corner where his workspace is. He's fifty-nine, with chunky tortoiseshell glasses and a white, grizzled beard somewhere between a week or two old, the kind cowboys would grow on a cattle drive. Which is fitting considering David has worked with leather for over thirty years in the fashion industry. He's done it all from building his own line when he was twenty-one to running it for eight years before he began contracting with high-end brands like Couregé, Valentino, Hartmann, and Coach. And it shows in his body language: a steady slouch back in the seat and crossed legs which seem to say that at this point in his life, there is nothing new under the sun.
I ask Case what it's like, growing up the son of a bagman. "Rolls of leather were stashed away where normal people might keep canned goods," Case says. "There were leather scraps everywhere. And then there was the smell of it—just being around it all the time."
There were the childhood vacations, where David would make Case a bag out of bark or some other alternative material. "I remember being in third, fourth grade, and coming up with some idea and talking to him about it, and then we would figure out how to make something," Case says. "It's always been our relationship, bouncing ideas back and forth."
It's not long before Case and David start to swap family stories.
David remembers, "When Case was very young, he used to make macramé products. I remember clearly having the discussion with him about how you need to price these things so you make money. The whole idea of paying yourself, not just—"
"Covering materials," Case says.
"Covering materials, yeah," David agrees. "You need to understand what you want to make on an hourly basis and what it takes for you to do that, and the profit margin. It was Business 101."
But David never pressured Case to get into bags. These were discussions more about the business of art in general, which Case was pursuing, working in oils and charcoals at Hume Fogg and then later at Hillsboro High School. His art excelled even as he battled intense isolation. Uprooted from New York, he found himself in a city with a much smaller Jewish population than in the Northeast.
His childhood friend Amy Fleischer remembers that time. A few years younger than Case, she too attended public high school, which was abnormal for the Jewish community in the late '90s. "There are always those feelings of isolation when you're an adolescent, but especially if you're a little different," Amy says. Of her 500-person graduating class in Brentwood, there were maybe five Jewish students.
"I remember being just a total outsider, feeling that way at least," Case says, talking to his fingers in his lap. "We're Jewish, and everybody is Christian, and I was this ambassador for the Northeast, and Jews in general. It was totally bizarre."
He'd already been accepted into Pratt Institute, an art school in Brooklyn famous for its programs in design, and David was splitting time between Nashville and New York, where he was working as a designer for Coach. Nashville was a wonderful city, David remembers thinking, but his family belonged with him and his work was in New York. So, in the late months of 2001, just as Case was beginning his senior year, the family put a "For Sale" sign in the front yard of their Nashville home.
"Then 9/11 happened," Case says, "and essentially, the industry collapsed."
David watched the planes hit the towers from the sample room window at Coach on 33rd and Avenue of Americas. His apartment was a block away from the World Trade Center. "It was surreal," he says, shaking his head. "The whole thing was surreal."
Case, back in Nashville, was pulled out of class with his sister. They tried to call their father, but cell phones were down. "I'd spent the summer in New York living with David and going to Pratt, taking the train from the World Trade Center to his apartment every day. It happened so early, we were thinking that he took the train, and he's at the bottom of the rubble," he says.
"I felt really disconnected because I felt like I was here, he was there, and I was supposed to be there, and then I saw the entire neighborhood…blow up on TV. Everything I knew as home there just…went. Yeah, it was terrible, man. It was terrible."
Fashion designers still talk about September 11, 2001, as a cataclysm for the industry. Labels went bust. Budgets shrank. Designers like David were cut. "The whole luggage industry took a nosedive after that. I mean, really bad," he says. "It got me thinking about how small is beautiful. The idea of 'huge' being the critical importance for a business, particularly in the bag business, really shifted in my mind."
It changed Case's future, too. "I had to take a real hard look at what it meant to be an artist," he says, "and the risks that are associated with that beyond just the short term."
With uncertainty in the market, David lost his contract work for Coach and returned to Nashville.
"It was really sad to see it be disposable. His art and his craft were just gone," Case says. "I saw the ripples, and they directly affected my family."
You could say it made Case bitter, watching this through his senior year, seeing his father struggle, but it also made him meta about the life of the artist: "The artist is the first one to get canned whenever something goes down," he says. "So that made me step back and examine what I was getting ready to go into." Instead of Pratt, Case started business school at MTSU.
During this time, he had seen his father get work and lose work, "the struggle of being an independent contractor," Case calls it. "Tucker & Bloom was necessity at a certain point. It was like, 'How are we going to take control of this? When you're the first one to get canned, how do we find some stability in that?'"
David was looking for an outlet for his design, and Case, with his developing business background, could help with the company face, business model, and input in product development. "It just kind of morphed into, 'Okay, let's build this website, here's the logo, here's the name, let's get photos,'" Case says.
I ask for specifics on the date and they both laugh. "We always have problems with this one," Case says. "We just need to come up with something."
But while they might still be trying to assemble their mythology, their company name isn't a mystery. Bloom is the family name, the artistic side with a rich history in design. While Tucker, Case's middle name, is from his maternal side—whalers from the northeast. Outdoorsmen. "The idea is to bring design to function," Case says.
"I think we both share this desire for design to fulfill a need. It's not just aesthetically pretty," he says. "Good design is intrinsically beautiful, but it's based off of serving a purpose. So we look at how we can make a container that will fit this, this, this, and this elegantly."
Case has continued to make art—he shows me some urban landscape prints he's been working on—and he expanded into the music scene, becoming one of the driving forces in the emerging Nashville hip hop community. The Boom Bap, his monthly series at the 5 Spot that pulls world-renown DJs to spin, just celebrated its six-year anniversary and has expanded into Atlanta and Miami.
Like Tucker & Bloom, Case says The Boom Bap came out of necessity: "We wanted a place to play the records that we loved, and no one was really giving us that venue, so we decided to make it happen ourselves. And now it's different. There are a lot of talented rappers and producers coming out of Nashville. They were here before, but I think that the light's been shined, and they're able to make moves."
When you grow up with a father as a craftsman, it's natural to be involved in that career, even without the parent weighing in. David's father was a doctor in Boston, so was there ever a desire to go into medicine instead of fashion?
David thinks, then says, "No, because I was completely…" He looks into the rafters, the bottom of his cutting room floor.
"Disinterested?" Case says, and they both laugh.
"Left-brained person," David says. "We just have different kinds of minds, that's all."
That's true for not just David and his father, but for David and Case. What Case designs, David breathes into life, and it's helped make them a respected name in a worldwide community, even if their Nashville location can be hard to find.
-Jon Gugala
Check out the Native interview on their site for more photos from the interview.]]>


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Picture of the Day: Tara Allison in a thong
The lovely Tara Allison looks amazing from every angle, as this view of her sexy thong highlights all too well!
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subset: commoncrawl


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What are the consequences of going larger and raising a nipple? (Photo)
Doctor Answers 9
Size increase
Avoid over implantation
Best Wishes,
Gary Horndeski, M.D.
Web reference: http://www.horndeski.com
650 cc to 700 cc implants are huge don't do it
Web reference: http://drseckel.com/surgical-procedures/result-oriented-breast-augmentation-breast-enlargement/
You might also like...
What are the consequences of going larger and raising a nipple?
What are the consequences of going larger and raising a nipple?
That can have a disastrous effect on the final position and symmetry of you breasts. Obviously, it's hard to make an opinion about your nipples without better clinical photos. I urge you to seek multiple opinions from board certified plastic surgeons. Good luck!
Lower fold
attachment and placing a large implant could be disaster to fix and would almost certainly require revisions as you age. The nipples can be raised. Before undertaking this I would need to do a through exam and access you volume, skin quality and skin thickness. Thanks.
Raj S. Ambay, MD
Board-Certified Plastic Surgeon
Wesley Chapel, FL
You want larger implants
Your implants are nearly up to your clavicles.
If you need a lift of the areola it can be done without changing your implants
I would think hard before altering the fold. The current fold is likely to make an impression on the larger implant, creating a "double bubble" appearance. Sometimes the fold stretches out with time, but not always.
Consider posting better photos, and more specific answers to your questions can be expected. All the best.
Web reference: http://www.realself.com/dr/new-questions?dr_id=28978&topic_id=52376
These answers are for educational purposes and should not be relied upon as a substitute for medical advice you may receive from your physician. If you have a medical emergency, please call 911. These answers do not constitute or initiate a patient/doctor relationship.