Ranger Market Tote featured in
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…
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.
This year for Record Store Day we have teamed up with our friends at Third Man Records for a set of epic give aways! We have two of the limited edition Third Man Records X Tucker & Bloom Messenger bags packed with some Third Man RSD exclusives. The contest ends on Monday April 20th and you can enter below. Best of luck!!!
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."
We we're recently interviewed by Market Place Money's Chris Farrell for a piece he put together entitled "how to build a second act business with your millennial kid". The article touched on some interesting points and was featured on Time.com and Next Avenue.
“It’s awesome working with my dad,” says Case Bloom, 30. The feeling is mutual, says his father, David, 58: “We are good complements to one another.”
From ‘You’ to ‘We’
The Blooms, and their business manufacturing highly-crafted messenger bags targeted at the DJ market, are a prime example. Before opening shop, David had spent his career in bag design and was director of travel products for Coach in New York City before he lost that job. When Case was in college in Nashville, studying business, he’d offer pointers to help his dad’s venture. “His logo was so bad. Horrible,” laughs Case. “I’d tell him, ‘You’re doing it wrong. Do it like this.’”
Eventually, Case says, it became “We should do it this way. The business happened organically.” Today, father and son each own half of the company, which has seven employees. David handles design and product development; Case is in charge of anything to do with the brand image and online sales. He’s also the one making frequent runs to Home Depot for the business’s factory and to the Post Office for shipments. “I have a different set of skills than my father,” says Case, who is also a part-time DJ.
When Kinship Is Friendship
One reason for the growing second-act-plus-child trend: surveys repeatedly show that today’s young adults generally get along well with their parents—and vice versa. “The key is an attitudinal shift in the relations between generations,” says Steve King, founder of Emergent Research, a consulting firm focused on the small business economy. “Boomers are close to their kids and the kids are close to their parents.”
Take Amanda Bates, a Gen X’er, and her mother Kit Seay, co-owners of Tiny Pies in Austin, Texas. “We’ve always had a close relationship, feeding off one another, finishing each other’s sentences,” says Kit, 73. They’d long wanted to do something together.
Several years ago, Amanda got the idea for making handheld pies from her son’s desire to take pie to school. So she and her mother began selling small pies, based on family recipes, in local farmers markets. They now sell them throughout the state, mostly through specialty stores, and opened a retail storefront at their wholesale facility in March 2014. Kit focuses on the creative and catering side of the business; Amanda’s in charge of the basics of running an enterprise. “The trust is there,” says Kit. Amanda agrees. “Yes, the trust is there. If she says something will get done, it will.”
Teaching Your Child Trust
Trust and complementary skills are also themes for Lee Lipton, 59, and his son Max, 25, and their Benny’s On the Beachrestaurant in Lake Worth, Fla.
Lee, the restaurant’s principal owner, came out of the clothing manufacturing business, moving to Florida after the Calvin Klein outerwear line he ran with a few partners was sold. He bought Benny’s a year ago. Max, who’d wanted to get into the food business, is one partner; the other is chef Jeremy Hanlon. Lee’s the deal maker, Max manages the restaurant and executive chef Hanlon handles the kitchen. “The three of us trust each other incredibly and when one person feels strongly about something we tend to do it that way,” Lee says. “Very rarely after talking do we disagree, and that format was identical to my past partners. I want to teach Max and Jeremy that closeness.”
For second-act family businesses, creating boundaries between work and home is advisable, but easier to say than do. Speaking about her current relationship with her mom, Amanda Bates says: “We used to go out together and have fun, go to garage sales, that kind of thing. Now, when we get together, the business always come up. Even at family dinners, we end up talking business.”
The Win-Win of Multigenerational Businesses
But in the end, it’s family that makes these businesses succeed.
Bianca Alicea, 26, and her mom Alana, 46, started tchotchke-maker Chubby Chico Charms. in North Providence, R.I. with $500 and less than 100 charm designs at their dining room table in 2005. They now have roughly 25 full-time employees and sell several thousand handmade charms. Alana is the designer; Bianca deals more with payroll and other aspects of the business. “It’s important to remember you are family,” says Bianca. “Things don’t always go according to plan, but at the end of the day you have to see one another as family.”
Intergenerational entrepreneurship, it turns out, can be a win-win for boomers and their kids. For the parents, it’s the answer to the question: What will I do in my Unretirement? For their adult children, working with mom and dad provides them with greater meaning than just picking up a paycheck.
Chris Farrell is senior economics contributor for American Public Media’s Marketplace and author of the new bookUnretirement: How Baby Boomers Are Changing the Way We Think About Work, Community, and The Good Life. He writes twice a month about the personal finance and entrepreneurial start-up implications of Unretirement, and the lessons people learn as they search for meaning and income. Send your queries to him at firstname.lastname@example.org 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.
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!
"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