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DJ APT ONE INTERVIEW
Tucker & Bloom caught up with DJ APT ONE of the Philadelphyinz. Easily spotted by his moustache, APT ONE is well known in Philadelphia as a force both behind the turntables and the mixing board. Read about how he first got into music, what he’s been busy working on, and the origin of the name Philadelphyinz (rumor has it the name has roots in the Mayan calendar). Embrace the man behind the handlebar moustache, and read on.
-THE BAG MESSENGER
THE BAG MESSENGER: How did you first get into music?
DJ APT ONE: Some of my early memories involve my parents singing to me before I’d go to sleep. I used to love to improvise my own songs. I remember my dad singing Mississippi John Hurt’s “Irene Goodnight.” But he tactfully removed the verse about jumping in the river and drowning.
My dad is a huge music nerd. I still go home and burn CDs from his collection. He went to SXSW with me this year – it was awesome. I got a call from him over the winter where he said “yeah I think there are a few dozen shows I want to see in Austin this year, I’m gonna go.” He has a really good grasp on what I do in music – it can be awfully hard to explain DJing and production to people who grew up before that was a thing.
THE BAG MESSENGER: How did the philadelphyinz come about? Where does the name come from?
DJ APT ONE: Oh man. I get this question a lot and there’s no real quick answer so here goes.
So in 2005 I was doing some parties where I had a string of my buddies that I grew up with in Pittsburgh down in Philly rocking with me. Philadelphyinz is sort of a portmanteau of the words “Philadelphia” and “yinz.” Yinz is the equivalent of “y’all” in Pittsburghese, which is a really strange dialect of English with all kinds of weird words. You don’t really hear it outside of Western PA, Eastern Ohio and West Virginia. It’s pretty wild. Anyways.
Ultimately, Skinny and I struck up a partnership this way – we hadn’t DJed together much since we were in high school but he had moved to NYC from St. Louis and I had him down DJing a bit and we really clicked. We used the name for the party because it had these two geographic influences – it was Pittsburghers in Philly. We didn’t really expect to have the party continue for so long and we certainly didn’t intend to name ourselves that – nobody can spell the fucking name and most people have no clue what it means. Other people started referring to us by the name of our party and after a while we just stopped fighting it because people knew what it was and the name was out there. Skinny and I have played in dozens of cities as Philadelphyinz and we run a record label together and still do that party (and others like Hot Mess) together til this day. I love that dude like a brother – as in “that’s my dude but i wanna put him in a headlock half the time.” I think he’d say the same about me.
THE BAG MESSENGER: When did you get involved with production?
DJ APT ONE: I’ve been producing since the early 2000s, and it was just a natural progression from DJing. I spend a lot of time producing – making remixes for other artists, making edits and remixes for DJ use and making my own original production. I have had a lot of success with my edits and the RCMP records I’ve been doing the last couple years and I have dozens of tracks ready to go when they find the right home.
THE BAG MESSENGER: We’re you always involved with collecting music?
DJ APT ONE: It’s all about Jerry’s Records in Pittsburgh. One of the biggest all-vinyl stores in the world. It was on my walk home from high school. I’d grab some pizza or some Chinese and just post up there for hours.
THE BAG MESSENGER: How has serato changed the way you get down?
DJ APT ONE: I’d be lying if I said it hadn’t changed the way I do my thing, but I am probably on the more puristic side of digital DJ culture. I held out against switching to digital until 2007 and I watched the way the tail was beginning to wag the dog, and I decided that although I had to go digital in order to play the music I was making (and save my lower back from destruction), I’d try to stay very focused on keeping my musical identity as somebody who trusts his own musical instincts. Having access to such a huge volume of digital music makes it easy to be lazy or be a trend fucker. I’m a digger and I like funky music, and I gotta remember to keep those things core to my identity.
THE BAG MESSENGER: Do you still buy records? What are you looking for these days?
DJ APT ONE: I do- I mostly look for good disco, house or funk gems and look for sample sources. I’ll pick up anything I think I can play and if it’s cool but maybe not playable, I’ll edit it. I also collect a few esoteric things – Pentangle-type British electric folk, old Bob Wills style country. Weird shit.
THE BAG MESSENGER: What do you listen to for fun?
DJ APT ONE: My favorite thing to listen to for fun is Andre the Giant and Butter on 105.3 WDAS on Sunday nights. I love listening to cats who have been playing funk, soul and hip hop for like 40 years play that shit live in a nightclub. I love listening to how they treat particular records and I always come away from that show with a new respect for certain classic records and what they can do if used effectively.
THE BAG MESSENGER: What would you be doing if you weren’t a DJ?
DJ APT ONE: I’d be in grad school. I dropped out to do this full time. I had an itch I couldn’t scratch and I knew that if I didn’t take my chances as a working DJ and producer NOW, the window would close and I’d regret it later. Grad school’s not going anywhere and as far as I know I’m not getting dumber as time goes by.
THE BAG MESSENGER: What are some of your places to visit? Favorite crowds to play for?
DJ APT ONE: The best crowds I’ve played for (outside of Philly) are most definitely Providence, DC, Minneapolis, Pittsburgh and Cleveland. I don’t know what it is but folks in those cities always go bezerk! My favorite crowd to play for is probably the gay, black over 30 crowd but I’m not picky – anybody who is open and down to have a good time is my kinda party person.
THE BAG MESSENGER: What’s the key to packing for the road?
DJ APT ONE: Pack efficiently and make sure you have easy access to all your esoteric DJ electronics so you can take them out beforehand at airport security. It saves you a lot of time. Also, do anything in your power to avoid checking a bag.
THE BAG MESSENGER: Every DJ has a horror story or two….what is the worst thing to happen at a gig?
DJ APT ONE: This is another question that a short answer doesn’t do justice.
I was DJing a Beautiful Decay magazine release party in NYC with Burnso. Must have been 03 or 04. He and I had a group called Myron Cope Experience up until 05 or so. We played a set with lots of Kraftwerk, Black Moon, Barry White and probably Aaliyah acapellas over Ante Up. We rolled deep on wax with mashups before anybody called them that (and before Serato made it silly to bother mixing two records together live for 3 minutes).
Anyway, we get done playing our set and these guys from Madball come on after us and DJ. They just slam in a bunch of hardcore records. I had no idea who they were or what DMS crew or anything was. I still know pretty much zero about hardcore. Never really cared for it or knew anybody who did when I was young. I found out after the fact that these guys are pretty much legendary head cracking motherfuckers.
Our boys from Philly who came up were friends with my buddy Dos Noun, who was also performing. These kids were complete degenerates, and they start getting flipped out like “THIS MUSIC FUCKING SUCKS PLAY SOME RAP” etc., They’re climbing up into the booth and getting in these Madball guys faces.
All of a sudden I see Dos get sucker punched by some hardcore dude and the dance floor basically turns into a big riot. We gotta go rush to get our boys’ backs. Big rumble goes down, nothing too serious, but then half the Philly kids get thrown out of their own show and this dude Rooney is in front of the old Downtime in the middle of 30th Street in Manhattan waving a crowbar at his best friend’s manager for kicking them out. Several of the guys who were on “our” side were dust-head criminal miscreants that I would never vouch for in real life but basically we had no choice. They are basically waiting outside the club for their own managers and these DMS dudes until cooler heads prevailed and the left. It was ugly.
We rode the train to the Bronx with 5 damn crates of records at like 5AM covered in blood and beer. My friend Annie was vomited on in the club at some point. Real human wreckage. We go way the fuck up in Riverdale near that IHOP everybody knows. So we copped some 40s at a bodega and crushed em. Then we get to Annie’s apartment – it’s the size of a shoebox and me and Burns had to sleep head to toe on the same tiny futon. There wasn’t even floor space for one person. Burnso copped a can of Spaghetti-O’s at the bodega and ate the thing cold and farted the rest of the fucking night
That last part is the real horror story. Game over.
THE BAG MESSENGER: Where do you find inspiration to do what you do?
DJ APT ONE: The streets of Philly. The bar around the corner from my crib in West Philly has a house band that plays George McCrae’s “I Get Lifted” almost every week when I’m waiting for the 9PM trolley to the gig – that’s all the inspiration I need.
The DJs in this town blow my mind. Watching Cosmo Baker or Brendan Bring’em rock it is inspirational in and of itself. I also get a lot of inspiration from watching my homies do what they do – all my friends teach me a lot about music when I watch them play. You can’t suck and make it in Philly.
THE BAG MESSENGER: What are you working on now? What can we be looking for in the future?
DJ APT ONE: I just cut a remix for my boy Nick Nack from Austin, and I’m working on getting some of my huge collection of bootleg funk and disco edits out there on wax and digital with my boys Eleven and Cosmo from the Rub and my homie DJ Audit out of Canada. I have a project with a bunch of ex-P-Funk members that will hopefully see the light of day soon as well.
I have a lot of cool stuff coming out of Young Robots camp (my label). We’ve got a new single from one of my groups, RCMP, as well as records by Skinny Friedman, New York’s Pumpkin Patch, Relative Q (also of RCMP), Detroit’s Frankie Bank$, Dash Speaks and myself in the next year, so stay tuned. YoungRobots.com all day baby.
THE BAG MESSENGER: What do you think DJ culture is going to look like in the next ten years? (Will the DJ become more of a performer or less?)
DJ APT ONE: I can’t really say what is in store for DJ culture. Digital DJing tools have really made the game less about what music you have and more about what you do with it. There will always be toolish DJs out there who promote their asses off, and that doesn’t bother me, but if Philly has taught me anything, it’s that often times, the cream rises to the top. The people who can present a unique musical aesthetic to a crowd will always make waves.
Cosmo Baker Love Break Three Mix
Happy New Year Folks! It seems like its been forever since we last posted a mix, but I suppose it has only been a few weeks. Before we get into this weeks musical treat, check out the Tokyo Duffel and the London Duffel, two new bags that came live over our last update. Check back later this week for the release of a new laptop bag, and some slick new cord management systems.
It’s the year 2011 and we know, sometimes its hard to let go. The new year brings with it new opportunities and room for growth. Before you move in to the new year and kick your feet up, make sure you check last years baggage at the door. Bring in the new year with some growth, and drop the bad with Cosmo Bakers Love Break Volume 3. It just may be the perfect way to break it to 2010.
-THE BAG MESSENGER
“I’m pleased to present to you the third and final installment in my Love Break series. It’s been a long time since I came out with any mixes and a few months ago I was listening to both the first and second mixes in this series and it just struck that I needed to release one very last statement for this. The first two are probably the most heralded mixes that I’ve ever done. They’re the ones that people holler at me about the most, and the ones that I’ve sold the most of with physical product. You can grab the other 2 joints on CD at my store here. It took me a few years to compile all the music that I thought would work just right for this mix, and for the tone of this mix I decided to take a more bittersweet perspective. But, just like the first two, I put this together with love and care, with minimal mixing and just allowing the songs to breathe and live on their own. So I hope you enjoy it.”
-Cosmo Baker
Cosmo Backer "Love Break Three - The Heart's Final Chapter"
Love's Intro
- Ace Spectrum “I Don’t Want To Play Around”
- Banks & Hampton “I’m Gonna Have To Tell Her”
- Major Harris “I Got Over Love”
- New Birth “It’s Been A Long Time”
- Eddie Holman “It’s Over”
- Black Ivory “(It’s) Time To Say Goodbye”
- Marvin Gaye “Anger”
- Top Shelf “Let Them Keep On Talking”
- Lloyd Price “What Did You Do With My Love”
- Jerry Butler “No Money Down”
- The Moments “Love On A Two-Way Street”
- Steve Parks “Still Thinking Of You”
- Solomon Burke “Everlasting Love”
- Clay Hunt “(I’m Claimin’) FInders Keepers”
- Angela Winbush “Angel”
- The Isley Brothers “Ain’t I Been Good To You”
- Sweet Blindness “Ain’t No Use”
- Billy Stewart “Cross My Heart”
- The Delfonics “Trying To Make A Fool Out Of Me”
- Freddie Hughes “Sarah Mae”
- The Three Degrees “Collage”
- Nancy Wilson “I’m In Love”
- Patrice Rushen “Where There Is Love”
- Joann Garett “It’s No Secret”
- Bobby Womack “Woman’s Gotta Have It”
- Smokey Robinson & The Miracles “A Legend In It’s Own Time”
- Ben Vereen “I’ll Keep A Light In My Window”
- Teddy Pendergrass “I’ll Never See Heaven Again”
- Diana Ross “One Love In My Lifetime”
- Brothers By Choice “Baby, You Really Got me Going”
- Mary Wells “Two Lovers History”
Boxhome By Rintala Eggertsson Architects
-THE BAG MESSENGER
INTERVIEW WITH BOWLS (The Boom Bap / Funky Good Time)
Bowls is no stranger to record stores. When we both lived in the same city, I felt as if I was perpetually in a race against time. Speeding from shop to shop, stretching to snatch at records before he got his hands on them. I would often see him later to compare finds, only to hear that he had already seen the records I bought, silently passing over them, tallying their worth, and moving on to other things. That is Bowls in a nut shell, quality over quantity. He isn’t looking to own every good record (where would he put them all?), only the ones that he loves (believe me those are plenty of enough). It takes a certain temperament to move through life this way. Knowing what you want before you find it is not an easy thing, and continuing to seek it requires a commitment and patience that few still have. Bowls is willing to wait, silently flipping through dusty stacks of records, shifting boxes to reach in to deep nooks and crannies…searching
-THE BAG MESSENGER
THE BAG MESSENGER: How did you first get involved with DJing?
BOWLS: Well I started listening to hip-hop back when I was in 5th grade (1995), and I decided that I wanted be a DJ in ’96 when I heard OutKast’s “Wheelz of Steel.” I was living in Paducah, KY at the time and I had never seen or talked to anyone who had DJ equipment, but in 1999 I finally got a belt-drive turntable and started buying records. By late 2000 I had a cheap Numark “DJ-in-a-box” setup, which later gave way to a pair of Technics 1200s around 2002. That was when things got serious for me, because I knew those decks were built for performance. I started out spinning parties in high school, but I didn’t play in a club setting until I moved to Nashville in 2004.
THE BAG MESSENGER: When did you first get into collecting records? What was shopping for records like in Kentucky?
BOWLS: When I first started looking for records in ’99, I had no real point of reference. I knew I wanted to be a “hip-hop DJ” or whatever, so I started ordering a bunch of records out of a distributor’s catalog at CD Warehouse. Put a check next to the 12“s and LPs that I wanted, then pick them up the next week. At that time, I just assumed I should be buying doubles of all the “underground” hip-hop 12“s, scratching over instrumentals, and making mixtapes. No one was there in Paducah to school me on the breaks, represses vs. originals, spots to dig, etc. Luckily, it was just a matter of time before the whole concept of SAMPLING was fully realized. I loved the fact that some of those original records could actually be sitting in an antique shop right down the road. Since that revelation, I’ve spent thousands and thousands of hours sifting through old vinyl. I went digging in St. Louis a lot from ’00-‘04, and then my collection just exploded after I moved to Nashville for college.
THE BAG MESSENGER: What kinds of things are you looking for these days?
BOWLS: Recently I’ve been digging a lot of prog and psych-rock. I’ve gotta be in the mood for it, but there’s something satisfying about hearing a nice, mellow funk-groove float in after three straight minutes of noise. I bought a ton of jazz records last summer, and I’m always looking for good hip-hop 12“s. Honestly, I’ll give pretty much anything a listen these days…the days of judging an LP by the cover are long gone!
THE BAG MESSENGER: You’re into a lot of sample source stuff. What records have found through seeking a sample that you fell in love with?
BOWLS: I’ve found countless dope records from knowing that Pete Rock/Premier/Madlib sampled them, but I probably get the most satisfaction out of finding artists with solid catalogs that I can dig into. If it weren’t for hip-hop/crate-digging, I might still be under the impression that Kool & The Gang was just some 80’s group that made “Ladies Night.” Its something I really don’t take for granted, because my parents weren’t into music at all. Can you imagine living life without knowing that Kool & The Gang made a song called “Music Is The Message?” Thinking that James Brown was just that dude who sang “I Feel Good?” I’ll be in debt to hip-hop for the rest of my life.
THE BAG MESSENGER: Any interesting digging stories? Favorite finds?
BOWLS: On a family vacation to Florida back in the early 2000’s, I looked through the phone book for record stores. My mom dropped me off at this one place that had full discographies of every “major” group/artist you could think of. Like 10 copies of each release. I thought that was pretty cool, and then the owner said, “Hey, have you looked around downstairs?” Downstairs was over 150,000 UNSORTED 12” singles. One of the first records I pulled out was the Pete Rock & CL Smooth “Straighten It Out” promo, which of course has the elusive “Vibes Mix” of “T.R.O.Y.” on the b-side. That made the hundreds of Miami Sound Machine 12” sightings a little more bearable. I found quite a few good records there.
THE BAG MESSENGER: Where are some of your favorite places to go? Favorite places to dig?
BOWLS: St. Louis has been a favorite city of mine for years now. Lots of music history and lots of well-stocked stores. Of course I hit my spots in Nashville all the time. I’ve made a couple trips to Japan with my younger brother, and that’s always a great way to spend tons of money on records.
THE BAG MESSENGER: You play only vinyl. How do you feel about Serato?
BOWLS: Serato is great, and I definitely intend to get it at some point. Initially, I agreed with DJ Premier when he said that DJs need to “earn the right” to use Serato by building up a good record collection, but that really doesn’t make sense for aspiring DJs in 2010 and beyond. New music isn’t being pressed up on wax as frequently, some DJs grow up in towns where digging spots are scarce (I was one of them), and lots of people just flat-out don’t want to spend the money. With that said, I consider myself someone who literally pays to play the game. I love it that much. I talk to a lot of DJs who started performing in the last five years or so, and its safe to say that I probably spent more money on vinyl this past summer than they have in the last three years combined. Its a strange feeling. I know all the OGs and real diggers still buy records in addition to using Serato, but the love for original vinyl pressings, and just the act of digging in general, seems to have really diminished with the new wave of DJs. I came to terms with that a while ago, and I’m fine with it. Being a good DJ involves skills and great taste these days, not a dope record collection. That’s just the way it is.
THE BAG MESSENGER: Whats the key to packing for a gig?
BOWLS: Considering I still use strictly vinyl, a lot of my preparation involves picking out which 45s I want to bring. If I’m spinning for just an hour or two, I don’t want to lug more than one crate of LPs/12“s to the party. That box of 45s lightens the load while still packing a punch, and I always make sure I have a good balance of genres between the two formats. Besides remembering my headphones and needles, efficient record selection is my main thing. Yes, I know that Serato users never, ever have that problem haha.
THE BAG MESSENGER: When did you first meet Count Bass D? Can you describe getting to know him?
BOWLS: I met Count at his BEGBORROWSTEEL album release party here in Nashville. A couple months later, his wife shot me an email and asked if I’d be willing to intern for them. At the time I was studying the music business at Belmont University, so I definitely took that opportunity. I watched as he released Act Your Waist Size on Fat Beats Records, saw how he and his wife communicated with the label, met his kids, went with him to a show or two, assisted with whatever they needed, and finally helped him break down his studio before they moved to Memphis. He’s just a cool dude all-around and I gained a whole new appreciation for his music after getting a feel for his lifestyle. (Let it be known that he once woke me up at 7:15 AM to take him to the airport. After a trip to the bank, we got there at 7:42…“right on time” for the 7:50 flight. When I asked him where he was headed, he told me that MF DOOM called him earlier that morning. He needed Count for his show in NYC that night.)
THE BAG MESSENGER: Every DJ has a horror story or two….what is the worst thing to happen at a gig?
BOWLS: DJing outdoors is always interesting when you spin vinyl, especially LPs. I was playing some dance classics at a rooftop party one night, only to have the wind pick up my needle and drop it on a slow jam. Oh and I once had a guy ask me to play Justin Timberlake….while I was playing Justin Timberlake (apparently this happens more than you’d think). After reading about drunk club patrons vomiting on turntables and mixers, I feel like I’ve been pretty lucky thus far.
THE BAG MESSENGER: What can we be looking for in the future?
BOWLS: I’m trying to put out my Ahmad Jamal mix (Bowls Plays Jamal) sometime early next year, along with the follow-up to a boogie/funk mix I did back in 2009. Besides that, I’m just looking forward to playing more gigs and featuring more Nashville DJs on the Music City Living podcast. Oh, and buying more records. You can bet on that!
J-Rocc Cooking Ingredients
A good DJ is able to breath new life into old songs. A great DJ is able to make you excited to hear those songs. J Rocc is able to take songs you know and make them sound like completely new music. Listen to this mix with headphones on, sleep on it at your own peril.
-THE BAG MESSENGER
Click here for free download of Cooking Ingredients
Track listing…kind of
01. Intro Track
02. 3 Breaks For You
03. Smoothed Out
04. Sho Is Funky
05. Another Smooth One
06. Little Bitchard
07. $$$$
08. Eugene Edit
09. Latin Fuzz Guitar
10. Schmit
11. James The Preacher Man
12. Classic
13. Spacey
14. Out Looking Inside
15. Hoggin
16. Gotta Get Away
17. Rufus Breaks
18. Woman Shut Up
19. Windy Edit
Brazilian Bank Notes
I stumbled across this site through ffffound! I believe it’s a link from some type of Brazilian travel site. I don’t speak Portuguese or Spanish so it’s anyone’s guess. However, I know sweet money when I see it. U.S. notes seem so bland after looking at these.
- The Folks at TWIRKETHIC
Dilla's Rock Crates Mixed By Bowls
Bowls is no stranger to record stores. When we both lived in the same city, I felt as if I was perpetually in a race against time. Speeding from shop to shop, stretching to snatch at records before he got his hands on them. I would often see him later to compare finds, only to hear that he had already seen the records I bought, silently passing over them, tallying their worth, and moving on to other things.
That is Bowls in a nut shell, quality over quantity. He isn’t looking to own every good record (where would he put them all?), only the ones that he loves (believe me those are plenty of enough). The same applies to his mixes. Many break mixes are crammed full of short clips and sound bites, they play the samples your familiar with in the way you are familiar. In contrast, these two mixes give the listener space to hear the decisions a producer makes, and room to appreciate the process of selection.
Much like Bowls, Dilla had no desire to use everything. He took his time, selecting finds, and moving on. The selections on both of these mixes are well thought out. Do your self a favor and let these two weed out the dreck, I promise you won’t be disappointed. -THE BAG MESSENGER
Architectural Photography By Kim Holtermand
Danish photographer Kim Høltermand creates some incredible architectural images. He captures every interesting vantage point on each structure and emphasizes the sculptural qualities of his subjects.
-THE BAG MESSENGER
Tucker and Bloom Interview With The Bag Stage Report
Here is a cool little interview we did with German bag design magazine The Bag Stage Report about the creation of Tucker and Bloom and our roots.
-THE BAG MESSENGER
What is the name of the label and what is the idea behind the name?
Tucker & Bloom: We are a family owned company, with deep roots in design, and a dedication to old world craftsmanship. The name comes from the combination of the two sides of our family.
The Tucker’s were British relatives that settled in Northern New England as ship builders, and whalers in the 1800’s. The Bloom’s were Eastern European craftsmen that moved to America after the First World War and became involved in the New York garment industry. The brand strives to meld these two histories through clean functional design and use of rugged, durable materials.
Where are you from?
The company was founded in 1978 in Boston Mass as Bloom Fine Leather Accesories where it found success in its first line of handbags. It than relocated to Brooklyn NY and is now based in beautiful Nashville TN.
What is the inspiration behind your collection and what kind of materials do you use?
Our bags emphasize organization, and individuality through the use of functional design. We were inspired by a combination of things when designing the collections. The function of the bags came first. We also felt that designing them for domestic manufacturing and having the bags fit into specific lifestyles were important. We currently offer three lifestyle lines Work, Transitions and Leisure. Each line has a particular feel, use and purpose. The materials that are used in the collections are 1980 denier Ballistic Nylon, Heavy Cotton Canvas, Neoprene and Leather (Some
vegetable tanned and some chrome tanned). We have also used some small rubber micro-injection branding patches, as well as satin nickel side release buckles with our logo laser engraved on them.
Since when do you run your own collection?
The Tucker & Bloom bag collections have been available since 2007.
How or why did you start designing bags?
I started designing bags in the 70’s and was lucky enough to find a mentor in Kosta Spyrololous(a small handbag manufacturer in Boston). I became fascinated with European classical handbag construction, though in my early years the handbags were far from classical construction. After moving to New York I worked side by side with aging holocaust survivors who passed on knowledge learned from many years in the business. I’m not exactly sure why I have found bag design so endlessly interesting but I continue to learn everyday. What more could a person hope for in work; passion for the product and the opportunity to learn something new everyday.
Do you exhibit on trade fairs?
It is our desire to make our company a sustainable US manufactured product, with our main distribution direct to consumer and very little wholesale. Although, we are looking at doing some co-branding b2b, and will be offering our Transitions line through the wholesale channel in the spring of 2010.
Braun Product Photos
Nothing excites us here at Tucker & Bloom more than good functional design. In its best form good design can redefine the way we use a product, or reinterpret its function entirely. These Braun products designed by Dieter Rams have a stripped down functional design that just oozes class.
-THE BAG MESSENGER
Photonium has a Flickr set featuring some vintage Braun products, designed by Dieter Rams. A lot of these designs look like they could have been produced yesterday instead of decades ago. If the Braun photos interest you, make sure to check out Photonium’s Charles and Ray Eames Flickr set as well.
DJ Nuts Disco E Cultura Vol 3
The Disco E Cultura series by Brazilian DJ Nuts is a great piece of work, and Volume Three is no exception. Expect a wide width of Brazilian music, and top notch mixing. Have a nice week folks!
-THEBAGMESSENGER
Ron Van Der Ende Bas Reliefs In Reclaimed Timber
Ron van der Ende’s work in bas relief is astounding. Each of the flat pieces takes on a three dimensional appearance while exhibiting van der Ende’s pieced-together painting style. The subjects are often physical representations of obsolescence and it makes sense that they are created using reclaimed timber.
-THE BAG MESSENGER
