BOB SNODGRASS The Godfather of Artistic Hard Glass pg. 16
MATTY WHITE Beyond the Torch
DEGENERATE ART World Premiere Event pg. 27
CK WHOLESALE EXPO pg. 32
2011 Show Review pg. 68
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I find myself daydreaming about either Gary Johnson or Ron Paul being elected President and what a positive difference that would make in all of our lives. Having finally broken the chain of increasingly statist presidents, the fruits of freedom would blossom beautifully in every corner of American life. Alas, it’s only a dream, and unlikely to become reality. Instead, we are saddled in an age where even Gibson, the venerable US guitar manufacturer, can’t avoid being aggressively hassled by the Feds, in this case, the US Fish and Wildlife Service, one of dozens of federal organizations with expanding police powers. (For those unfamiliar, Gibson was raided in August, and up to 3 million dollars of imported wood, guitars, and equipment was seized by Federal marshals, though Gibson has not been charged with any wrongdoing as of this printing. Search ‘Gibson raided’ online for more details). There’s a profound sense among millions of Americans that we’ve lost all sense of balance in our approach to regulating businesses or industries. Small and medium-sized businesses are the most vulnerable, yet they are the ones that we rely on to create the most jobs in the private sector and increase tax revenues. Let’s apply this perception to smoking in general with its oppressive taxes, bans, and broad attacks. Such restrictions offend our legitimate and historic sense of culture, encroach on our freedoms, and bring harm to the broader economy. After all, smoking as ritual, medicine, or pleasure has been a part of almost every culture in human history around the world. That being said, the last thing most of us want to be confined to smoking are chemical filled, pre-manufactured cigarettes, or becoming dependent on expensive pharmaceutical concoctions to alleviate stress or worry. We know that tried-and-true and more natural alternatives could be available potentially everywhere - if only we were free to pursue them without fear of persecution. If Gary Johnson or Ron Paul were President, an economy would emerge that supports both our economic freedoms and the jobs that would go with it. As I often quote, “the only thing we don’t need in moderation is our freedoms.” In the meantime, we’ll be traveling far and high to visit our industry’s most interesting people, events, and companies, presenting their stories in a way that aims to reflect the high level of passion and creativity behind them, employing full page photos and high quality materials. So please take your time to enjoy the second issue of HotBreath magazine, built with love and respect for all who have supported it and everyone who reads it. PUBLISHER
MARK STAIANO KEVIN DYKEMAN
EDITOR IN CHEIF
JAMIE COULTER LAYOUT
ROB DELLENBACK ILLUSTRATIONS
CHRIS HATTON MELISSA BAER JOSHUA KESSLEMAN MATT LAPRAIRIE GRIMM MARBLE SLINGER JENI C. ENCK BRADY DANIEL ELLEN MACALUSO JEFF HIRSCHFELD GUSTAVO SHANTI BERG TRISTAN BLACKETT Questions? Comments? Story Ideas? Think you should be featured? Product Reviews? Contact Us!
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Fire Burns and Glass Cuts A LOOK INTO THE LIFE OF BOB SNODGRASS Article and Photography by Dede Giddens Illustration by Rob Dellenback
“Fire burns and glass cuts,” Bob says with a warm and comforting grin. He is sitting at the workstation of his cozy studio, a beautifully weathered eggshell bus parked just off the driveway of Bob and (wife) Marie Snodgrass’ charming home. The sparse cloud coverage has granted Eugene, Oregon a few hours of sunny skies and my southern blood requires a brief dose of vitamin D. A tour of
the Snodgrass property should do the trick. While making our way towards the family vegetable garden, I stumble upon a G-Force Accelerator, a mechanical centrifuge ride popularized by fairs and festivals, and featured in the 1986 film SpaceCamp. The rust covered thrill ride ignites a brief moment of shared reflection as we continue into the rows of tomatoes and peppers. “I’m not sure why I bought that,” Bob explains. I nod agreeably, no explanation needed. Grape vines pepper the property and Bob is quick to prune the moldafflicted fruit. This horticultural show & tell proves so engaging that I briefly forget I’m here to talk about glass. One last stop on the property tour brings us face to beak with a dozen free-range chickens. “That one will get you,” Bob says as he points to the razor sharp rooster spurs. Despite the inherent risks, he sticks his fingers through the chicken wire and says hello to his feathered friends. We return to his glass studio and Bob opens a glowing kiln. “Let’s try to warm this place up a bit,” he says in a soft voice. Perhaps this hospitable gesture is for my benefit. Bob’s insulated camouflage coveralls and knit cap have sufficiently raised his body temperature. Opting to cool down, he sheds a layer revealing a HotBreath Magazine t-shirt. This isn’t his
first rodeo. Bob graciously permits this apparent photo op as he launches into the story of how it all began. Leaning back in his well-worn studio chair, Bob explains, “I started hanging out at Chuck Murphy’s glass blowing studio (Akron, Ohio) in 1971. He was an inner-city poor kid and got a paper route when he was nine-and-a-half. An old man on that route took notice of his hard work and offered to teach him a career if Chuck would work for the old man until he was eighteen. The next week, Chuck was making test tubes. The old man sold lab supplies to every high school in the Akron area. That’s one of the things that scientific glass blowers do. Well, Chuck was just about fourteen and was hanging outside a jazz club. Someone gave him a joint… and he liked it. Chuck asked if he could take one home to his teacher. That was 1961.” Chuck realized, under the guidance of his German teacher, that glass pro-
“I started hanging out at Chuck Murphy’s glass blowing studio.”
vides a superior smoke delivery system. They began experimenting with scientific-inspired functional design. This gave birth to the iconic dragon and tube, first as a condenser/collector and then evolving into a smoking apparatus. Bob continues, “Those guys were smoking in ’61 and I met Chuck ten years later and started selling his pipes almost immediately. His car had broken down, and I was just fortunate that he asked me to take him to some shops. I went out and
By 1981, glass blowing had become Bob’s full time gig. His mobile studio(s) played a paramount role in the proliferation and popularization of this new form of “scientific spinoff” glass art. Bob and Marie were living the lives of true road warriors, traveling coast-to-coast setting up temporary shop at festivals, fairs, and concert lots. Marie would often drive the converted Volkswagen bus studio while Bob was blowing glass. This peregrine lifestyle was a profound
found some more shops and started catalyst that immersed him into a getting him more orders. Chuck constant state of artistic expression said, ‘glass blowing is not that easy, and experimentation. Most Ameriyou sit here.’ cans had never THE WORLD OF He lit my torch seen anything and said, ‘by the like Bob’s glass SCIENTIFIC GLASS way, my teacher art before. This WAS ABOUT TO GET A told me that fire was uncharted burns and glass HUGE WAKE UP CALL. territory. A cuts.’ And that completely new was my first lesson.” medium had been invented by a young hippie from Ohio and change was in the air. The world of scientific
glass was about to get a huge wake up call. Bob fidgets with the kiln door while explaining, “Chuck was well trained in scientific glass. He had gone to things like ASGS (American Scientific Glassblower Society) in 1960. I would always learn something at those conventions. In fact, I took a health and safety class back in the ‘90’s and helped promote a change in the whole industry. I brought up
a lot of questions about ventilation in the class. The class was a mix of people that were newbies to some old guy that was retired. When I started asking ventilation questions, the retired guy brought out x-rays that showed his silicosis. He showed us all this white haze in his lungs and this came from working without ventilation. He talked about how they’d see the brown haze gather in the corner of the room, and that when the haze in the two corners would come
together, it was time to go outside. A lot of stuff came up about really needing ventilation, but no solid information about why, except that your lungs will turn white and you’ll be gasping for air. I worked without ventilation for so long, and that’s why I’m such a stickler about it. I can walk into an under-ventilated shop with a bottle of kids’ bubbles and go ffffftttttp (waves imaginary bubble wand in air), and see which way the air is moving. It’s better than any smoke test. If you blow bubbles right where your torch ends, then you’ll have a good idea of where (the air) goes.” The ASGS convention attracted the perfect mix of inquisitive problem solvers. This fortunate stroke of serendipity gave birth to a defining era of lamp working safety and standards. Over the past sixty years the American Scientific Glass Society has grown to include over 650 members. A non-profit professional organization, the ASGS was founded in 1952 and aims to promote the educational and technical advancement of all aspects of scientific glassblowing. Bob adds, “So I had all these ventilation questions and nobody had any real answers. The following year at the ASGS convention, a fella came by and tapped me on the shoulder and said, ‘You raised so many questions in this class last year that I thought I’d finish my doctorate on air quality in the lamp shop.’ We are all just little intricate parts sometimes. I’ve been in a lot of the right places at the right time.”
“FUMING WAS AN ACCIDENTAL DISCOVERY
Aside from Bob’s critical impact on lamp shop safety, his exploration into fuming was nothing short of legendary. Niels Bohr, one of the most influential scientists of the 20th century, famously stated, “An expert is a person who has made all the mistakes that can be made in a very narrow field.” Bob made a small mistake that grew to define an art movement and forever changed the world of functional glass. Bob reveals, “Fuming was an accidental discovery for me. I use to file up everything and mix it in with clear glass to make my color rods. Some things were compatible and some weren’t. We would even use dirt from the back yard! So, I was working with a colored rod, and when silver blends enough it becomes caramel in color. We would call it silver white because you can get a whole bunch of different shades. Anyhow, a piece of silver came and bubbled across and fumed. I was actually disappointed when this happened, but it was structurally sound, so I kept on working it. Then I drew some clear lines over the silver fuming, finished it and sold it to a friend. She used to come over and mix color for me. A week later she called me up and said, ‘This glass used to be yellow but now it’s blue.’ I told her that if it was blue then it must be cobalt. She said, ‘No, I’ve mixed color for you and this isn’t cobalt.’ She totally knew what she was talking about, but I just didn’t understand her. The next day I stopped by her house. I had just come out of the bright sun and the inside of her house was very dark because they all sleep until 2:00pm. So she’s trying to show me the glass, and I’m just not getting it. We go
outside into the sun and she points at the glass. I knew what did that! I drove home to do it again, on purpose! I saw this lightning bolt… and it was that electric blue!” The gaining popularity of modern lampworking began to usher in new breeds of innovative artists. This provided Bob with a unique opportunity to teach seminars, classes, and workshops. His extended family of glassblowers is vast and agreeably eclectic, many achieving great success as innovators and business owners. Despite the
growing popularity of glass schools, Bob continues to cultivate young minds, even though his approach to pedagogy has shifted. He explains, “Taking on apprentices was good for stimulation. I gained momentum because I let people look over my shoulder. Nowadays I just teach intensive classes. I host a fiveday workshop that starts out with a field trip to local glass spots. Then I’ve got a fifty-four page set of notes that came from Edward Schmid’s drawings. He is a great soft glass blower and has a lot of good books out there. It gives
WAS GOOD FOR STIMULATION.”
you something to take home so you’ll have notes to follow. “ Bob’s willingness to work with students of all skill levels creates a very approachable learning environment. From novice to master, everyone has something to learn from Bob. His official apprentice list represents an impressive roster of industry shaping glass artists including: Jason Harris, Cameron Tower, Bob Badtram, Yvon and Brian Padilla, Ben Muniz, Will Menzies and family members Virginia SnodgrassGietl (daughter), Jonathan Gietl (son-in-law), Joe Naiman (grandson), and Ben Naiman (grandson). However, he quickly points out a significant difference between apprentices and students. Bob clarifies, “Apprentices and students are
a whole different network. Students can come for up to a two-week tour. Once you start as an apprentice, you are on to something that lasts through years of association. It’s a longer-term thing.” Bob’s colorful career has undoubtedly paved the way for today’s glass blowing elite. The lines of art and pure functionality are often blurred as artists push the boundaries of conceptualization, form, and color. The growing price tags for original one-of-a-kind glass pieces are more akin to that of gallery “fine art.” Collectors crowd online forums and regional flame offs eager to show off their latest borosilicate treasure while witnessing top artists at work. Although there is an air of rock stardom amongst some of the best contemporary glass blowers, Bob retains a humble yet confident presence. When asked if he ever anticipated the current environment of glass blowing, Bob replies, “Shows, competitions, and people flying all over the world? No. I didn’t think it would tip the scales on the number of young people that came into this craft any more than before. I thought maybe this coloring technique would raise the bar of what people were making but I didn’t think there would be this swell of lamp workers. I also couldn’t anticipate what my career turned into after the Grateful Dead. I was lucky enough that I could still make jars and marbles… and a couple of the other things that I make, but I don’t have the challenge of all the things I use to make. I’m real happy with trying to preserve the style of
what I did for the last decade with a little bit of something new here and there. I tried out so much stuff before anybody ever saw anything. I don’t want to make glass with hooks and horns. I’ve given up making those fancy gadgets.” Preservation aside, Bob’s current work continues to inspire colleagues and collectors. Team Snodgrass’ winning entry at the CK 2011 “World’s Greatest Flameoff” is a
testament to his skill and immeasurable cultural impact. Teammates Boxfan Willy, Abe Fleishman, and Ben Naiman, created a stunningly ornate Temple of Kukulkan inspired masterpiece. This beautifully commissioned project presents a sculptural narrative of artistic influence and fortitude. I ask Bob to share his thoughts on the future of glass. “Ben (Naiman) is the future,” he says with a smile. Bob’s assured delivery lacked any shred of nepotism. Bob truly believes in his grandson and lovingly encourages his artistic development.
Ben clarifies, “I was first introduced to glass by my Grandfather, Robert Earl Snodgrass II. In 1999 he started to teach my brother and I how to work on the torch. My first products were borosilicate filigree and pendants. From 1999 to 2006 I spent the summer blowing glass at my grandpa’s shop. In 2006 I started studying at Fort Lewis College full time and my artistic endeavors took a different route. In 2008 I started my own shop in Colorado and started incorporating glass into my schoolwork. After graduating I moved to Eugene, Oregon to become more involved with the glassblowing community.” Ben’s relocation comes as no surprise. The “Emerald City” operates as the irrefutable capital of lamp work, and Bob Snodgrass is the meritorious fountainhead. In a town where you can throw a marble and hit a glassblower, the opportunities for artistic advancement are bountiful. Recently awarded a lifetime membership to the Eugene Glass School, the future looks bright for the Snodgrass family. This honorary endowment will support their legacy while continually inspiring artistic innovation for generations. Hopefully the instructors at EGS are prepared for Bob’s inquisitive classroom nature. For more information visit: http://www.snodgrass.net http://benaimanglass.yolasite.com http://www.blackdragonglass.com
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MARBLE SLINGER on DEGENERATE ART “Degenerate Art” is a true document of the art and culture of glass pipemaking. It is the first film to ever bring to light this invisible sub-culture in a comprehensive and well informed format. The film itself tells the story of the movement through the voices of the pipemakers themselves and the industry that surrounds them. In the early 1990’s a few variables collided which birthed the era of modern day glass pipes. A hippie glassblower named Bob Snodgrass discovered fuming with silver, and by happy accident the “color-changing” glass pipe was born. Soon after, Bob began to follow the Grateful Dead, and selling his unique pipes in the parking lots of shows was a huge success and his reputation grew quickly, everyone wanted a “Snoddy”! Every winter Bob was forced to take hiatus from his nomadic lifestyle and settle down until the next spring. A young friend from Dead Tour named Hugh Selkind convinced Bob that Eugene, Oregon would suit his taste, and in 1990, Bob and his wife Marie settled there and set up shop. Hugh became Bob’s first apprentice. It didnt take long before Bob’s glass shop attracted more heads
from the area who were interested in learning his craft. As Bob’s list of apprentices grew, Eugene became the epicenter of handblown glass pipes. It didnt take long before Bob’s disciples set up their own studios and had their own apprentices. Once you understood some basic knowledge, the means to set up a studio to work glass with a torch was very accessible to anyone with a garage or basement and minimal financial investment. Friends initiated
I WAS INIATED INTO A WHOLE UNDERGROUND WORLD OF ARTISTS other friends into the scene, and soon the phenomenon spread beyond Oregon. Pipemakers would go to music festivals and Dead shows, sell their work, make connections through word of mouth, and go back to their studios to make more pieces for the next tour. In 1994 I was living in the northeast, far removed from what was happening in Oregon, when I was first introduced to the “color changing” glass pipe. It was something you couldn’t buy in a store.
You had to go out of your way to seek out one of these treasured gems. My friends and I became infatuated with these glass pieces, and I wondered who were the people making them and how did they do it. In the Spring of 1997, I graduated from Ithaca College with a degree in documentary film production and began to make small simple glass pipes influenced by a few friends who had come back from stints on the west coast. After a few months working diligently on the torch, I went to a Phish show, sold my first pieces, came home and quit my job at a restaurant. That winter I moved to Seattle, about a week after a cat named Jason Lee moved there. And as they say, the rest is history. Once on the west coast I was iniated into a whole underground world of artists that was bigger than I imagined and growing by the day. New styles and techniques of working glass were being pioneered by a motley crew of characters far removed from the mainstream. The pieces got more intricate and refined, and started to fetch amazing price tags exceeding $1000. The work reflected the culture producing it. Bright, colorful,
intricate, and psychedelic, each piece represented freedom. Freedom to think for yourself and to live on your own terms. As time progressed, I realized more that this was not just a fad, but a full on movement. Glass pipe-making has its own styles, conventions, language, ethics, and socio-political connotations. It is also in the grey area of the law. Although many will defend their pieces “for tobacco use only” or purely as works of art, the federal government’s broad definition of what defines “drug paraphenalia” makes all pipe-makers and people in the industry of selling glass pipes potential criminals. In 2003, Attorney General John Ashcroft took advantage of the federal law and launched “Operation Pipedreams”, shutting down major distributors and shaking up the entire industry. This did not stop the movement from growing and expanding, but perhaps even strenghtened it. For one it proved that the glass-pipe making was an organically expanding entity in and of itself, and that eliminating a couple big companies wasn’t going to stop the movement as whole. If anything, the busts confirmed that there was a political connotation to what we were doing. Our art challenged the mainstream belief system on multiple levels. Not only does it evoke a subconscious protest of unjust laws, it challenges the right to free speech and expression. On top of that, the fact that the demand for glass pipes has led to a multi-million dollar industry that is essentially a black market has social connotations all in itself. It never crossed my mind that a decade would fly by and I would still be making
artistic glass pipes for a living. After Operation Pipedreams, it seemed apparent that there was only so much success that one was going to be able to achieve before the government was going to step in and sieze it all. Then I saw a documentery film about graffiti culture called “Style Wars”. Made in 1982 in New York City, the film
documents graffiti in the golden era of subway writing. This film documented kids “vandalizing” trains with their names and spread the culture world wide, making graffiti one of the biggest art movements in the world today. Many of the young graffiti kids in the film are now well known fine artists that exhibit in acclaimed galleries. I realized that if kids vandalizing trains
in the name of art could have such a huge impact on the art world, so could the kids making pipes in the name of art. I found alot of parallels between graffiti and pipe-making culture. Graffiti in its essence, is done illegally, and therefore is always considered a form of vandalism, no matter how pretty anyone thinks it is. The same goes for a pipe, by federal law , and I guess cultural association, it is always going to be considered “paraphenalia”, but there is also a whole art movement happening as well. The big difference between graffiti and pipe-making, is that graffiti is done in the public space, and has been highly documented. Pipes are made behind closed doors of warehouses, garages, and basements, and the pieces are hidden away in headshops and private collections. This amazing community of rebel artists that I am a part of is totally invisible. If the world only knew about the gems that I have discovered, maybe the community as a whole would have the opportunity to grow and mature without boundaries. I then made it my mission to document pipemaking culture in a well informed and comprehensive film. In 2006 with the help of a couple private investors, I went on the road around the U.S. gathering footage, interviewing over 100 people, including pipemakers, collectors, shop owners, distributors, color manufacturers, and raw material distributors.
Provided by M. Slinger’s website
Digital illustration and movie review by Rob Dellenback
The Art and Culture of Glass Pipe Making Given the wide range of quality was the second night of after parties found in documentary filmmaking, following the CK Wholesale Expo I must say I was surprised and and the overflowing audience was a pleased with how the independent melting pot of glass geeks, industry feature length film Degenerate Art leaders, and featured the star studded turned out. For those who are attendance of Bob Snodgrass, Lacey new to the somewhat underground St. George, Boxfan Willy, Karl “wild-wild-west” of art glass, this Ittig, Popa, Buck, Matt White, Ben film proves to be interesting and Naiman, and CK Wholesale Expo informative. For host Jason A WOMAN IN THE ROW those who are Harris. already immersed BEHIND ME LITERALLY Degenerate Art is in the medium, a professionallyCRIED OUT OF JOY it’s even more made and DURING THE MAJORITY exciting. comprehensive The premiere insider’s OF THE FILM. of Degenerate peek into the Art was hosted at the Casbah mysterious world of the glass pipe Nightclub by Creep Records. This maker. The film features interviews
with a slew of the biggest heavy-hitters and pioneers that have, over the course of a few decades, invented this art form out of thin air. The film is also chock-full of artistically-edited shots combined with an impressive soundtrack. Over the course of the film, the viewer is taken back to the origins and early innovations of the medium, through its ever changing politics and surge in popularity (via the music scene), to the present struggles and successes in achieving widespread legitimacy as an art form. I anticipate this film will be picked up by a distribution label and has the potential to do what films like Beautiful Losers and Exit Through the Gift Shop did for
the similar world of graffiti and street art. Which is to say, spreading the word to a larger audience, and helping to finally provide the legitimacy these artists deserve. Likely, it could elevate the all-stars featured in the film to international glass art rock stardom while also igniting a mass increase in newcomers to the medium. The prospect of this kind of growing-pain might prove bittersweet to a lot of you readers. However, increase in competition is inevitable, and variety may be the best thing for the movement in the long run. Those with the most interesting concepts and best work ethic will prevail. My one and only caveat is the film’s limited female presence. Granted, this is historically the case in the context of almost all art. It may also be true that, within the “big names” of the glass world, there is a much larger proportion of men to women. If that is indeed the case, perhaps the issue could have been addressed. That being said, the bottom line is that Degenerate Art is fantastic, and will likely be enjoyable to anyone interested in any artistic subculture. At this screening, everyone within eyeshot thoroughly enjoyed the film. The audience (including every female attendee I noticed) was alive with excitement. A woman in the row behind me literally cried out of joy during the majority of the film. I’m not sure if there’s a better stamp of approval than that. If you are passionate about glass art, then this is a “must see.”
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Below: Still from Degenerate Art: The Art and Culture of Glass Pipe Making
SCAN THIS QR CODE TO WATCH THE FILM’S TRAILOR. 28
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UCCTO New Year, New Opportunities One of the United Counter Culture Trade Organizations biggest goals is to facilitate an educational experience for our industry. We got to do just that this past October. Thank you to everyone that participated in the UCCTO’s first Educational Event at the 2011 CK Wholesale show in Atlantic City. This was an intensive two mornings of learning. Not only did we learn a lot, but we all enjoyed ourselves and the interaction immensely. Topics ranged from personal development to customer satisfaction to creating business partnerships. We took the concept of micro module learning to a whole new level. Morning two of the educational event took us down the path of laws and legal challenges. Connoisseur Kulture, Jerome Baker and the UCCTO sponsored 2 amazing lawyers that brought real world experience and knowledge. I know a few eyes were opened. Just the fact that we were where we were was a testament to the flourishing industry in which we operate. Two days of education was a great start and made for an even better trade show experience. Some walked away with answers and others walked away with tools to ask better questions. All of this leads to even more valuable discussions at future events. We look forward to being a part of more educational events. Learning and development will move our industry forward. I think one of the challenges we face in doing more events like these is establishing the “value” of learning. Luckily we can quantify it by looking at corporate America and its businesses. Roughly 60 billion is spent annually on corporate education. 74% of corporate America sees learning and development expanding. It’s a growth industry, just like ours. With that being said, I want to motivate and inspire my colleagues to learn more, grow and take on new educational challenges. For yourself, your people and your companies. Another huge thanks to the dialogue that happened in Madison, Wisconsin at the Glass Roots Art Show. Wow! Can you say “critical mass?” For those that might have missed it, the topic of having a trade organization came up at one of America’s premier glass shows. Reports of close to 300 artists were in attendance for the discussion. The UCCTO is humbled and energized by the engagement that took place. Hundreds of members of our community made for a memorable experience. Keep the questions and feedback coming. We hear you and we want the same things. The UCCTO wants to be a part of the solutions our industry needs. The desire for peer to peer interaction, leadership and pushing the entire industry forward at Glass Roots was refreshing and validating. Together we can improve our industry. Go Team Go! Moving forward into the New Year, I see many opportunities and challenges. Continuing to carry the UCCTO message is very important. I read somewhere that while plans may fail, missions never do. Our mission is to promote and enhance our industries professionalism, competitiveness, productivity and profitability. There are many ways to achieve this. Some may work and others may not. Regardless, the UCCTO is here to stay and we will keep moving the the ball forward. Tristan Blackett is the Executive Director of the United Counter Culture Trade Organization (UCCTO)
BEYOND THE TORCH Article and Photography by Dede Giddens
For well over a decade, Matty White (owner and founder of MW Studios) has consistently crafted easily identifiable and unique functional glass art. Many of you are familiar with his extensive catalog of production and custom pieces. Roughly one-hundred-and-fifty different functional glass designs are produced at MW Studios, each the brainchild of Matty White. Nearly a dozen glassblowers work tirelessly to produce his
beautifully crafted glass pieces that can be found in shops across America. The production studio is located on the White’s property just feet from his family’s front door, and the shop interior is nothing short of impeccable. If cleanliness is indeed next to godliness, then the White family tree is surely blessed. The environment at MW Studios reveals a proud atmosphere decorated with awards and trophies highlighting career milestones and victories. The lamp workers, operating in rotating shifts, are unwaveringly focused. MW Studios supports families, friends, artists, businesses, conventions, and the national glass community at large. Sadly, this local business
model is constantly battling the ever-growing market of counterfeit glass. “It is crazy how fast they will copy your stuff,”Matty says as he straightens up a workstation. He adds, “Sometimes I will make a new piece just to see how quickly it gets copied.” This grim undercutting of local markets can be damaging to everyone down the production chain. Most shops and distributors are quick to point out the stark differences and advantages to buying local. Ideally, supporting local businesses creates economic sustainability, strengthens communities, and contributes to greater environmental health. In spite of current economic trends,
Supporting local businesses creates economic sustainability, strengthens communities, and contributes to greater environmental health.
Left: MW fused glass window Current Photo: MW Studios production work
one thing remains clear, there is no shortage of work at MW Studios. Demand for quality will always prevail- a sentiment that exudes from Matty’s sunny disposition. With one foot already in his truck he yells, “Are you ready to see my new studio? Follow me.”
Top Left: MW Tour Bus Bottom Left: MW Studio Current Photo: MW Studios production work
Moments later, I’m riding shotgun in high-speed pursuit of Matty White’s pickup truck, one hand white- knuckling the oh shit bar, the other frantically checking the tautness of my seat belt. Despite my absent GPS signal, Matty’s effortless navigation of Veneta, Oregon’s country roads is both reassuring and exhilarating. Our scenic game of follow-the-leader comes to an abrupt halt at the chain-linked gates of Crow Mercantile, a local farm and feed warehouse. Recently vacated, the windowless grey façade now accommodates his glass fusing studio. His glass business is growing and evolving, and this newly acquired studio space fortifies his current artistic obsession. The sparse facility is impeccably immaculate (much like his home production studio), but is still a work in progress. “I’ve just moved in,” Matty delivers with a cheery grin. The systemic organization of his kilns creates an ascending arrangement juxtaposed by ceramic forms neatly shelved on the opposing wall. This custom tailored studio represents the past, present, and future of Matty White Glass. Matty directs our attention to his newest toy, “This kiln was built by my neighbor.”
Top Left: Kiln built by Vince Thomas, Northwest Iron Works Bottom Left: MW Fused Glass Studio Current Photo: GTT Kabuki, DFO Winner Award
The gargantuan kiln door opens as Matty rattles off its unabridged list of bells and whistles. His excitement is contagious and, although his studio contains no examples of his current work (everything sold!), I find myself mesmerized by the modernization of the ancient craft of glass fusing. Glass fusing (also known as kiln work or “warm glass”) is a glass manipulation process that requires precise kiln temperature control and application. Historical evidence indicates glass fusing dates back as far as 2000B.C. The invention of the blowpipe gave birth to lampworking (also known as “hot glass”) and virtually eradicated the craft of glass fusing. Thousands of years would pass before the popularity of glass fusing could enjoy its true renaissance in the early 20th Century. Matty explains, “I can make tiles, tables, stairs, dishes, bowls,” as he picks up a ceramic mold. During the casting process, ceramic molds are used to shape the malleable glass. The possibilities seem limitless, and Matty’s affinity
for creative satisfaction is quite motivating. The starry night sky escorts a blanket of cold air into his temporarily heatless glass studio. It’s been a long day, but Matty insists that we stick around and meet his friend and colleague
Gemini Andy. Matty’s altruistic motivation to share the media limelight is truly first-rate. Eventually our guest arrives with glass protection cases in tow. Andy’s skillful artistry speaks for itself as he unveils the expressively sculpted pieces, many conjuring transcendental imagery spanning decades of pop culture fantasy. Gemini Andy’s glass might become your new idée fixe. Our visit
with Matty White comes to an end and we exchange parting pleasantries. On our way out Matty adds, “You should come back in May for the Degenerate Flame Off.” As the 2011 DFO Peoples Choice and Overall winner, Matty White knows a thing or two about showmanship and glass competitions. He politely asks, “Have you seen my glass fishing pole that won the DFO? It really works and I’m going to catch a fish with it!” The all-glass fishing pole is on display at Cornerstone Glass, host of the Degenerate Flame Off. The DFO, arguably the most prestigious glass blowing event on the West Coast, attracts hordes of lamp working elite and glass aficionados. What does Matty have planned to defend his championship title? Stay tuned for coverage of this years’ DFO and the development of Matty’s exciting journey into fused glass art. Matty White owns MW Studios and is the CHAMPS Glass Games Coordinator
Left: Digital Illustration by Dede Giddens Current Page: All works by Gemini Andy
Matt LaPrairie 420 Science digital illustration by
Trade Show Wars
In 2011 we exhibited at seven wholesale shows, but those additional five shows didn’t justify the added $50k expense - not to mention the amount of time away from our business when we could have been focusing on our core operations. We now have at least nine wholesale trade shows in the alternative smoke culture industry. And that doesn’t take into account the more traditional tobacco trade shows. We’ve got spring and fall shows in Las Vegas for CHAMPS, AGE and BIG, plus CHAMPS in Atlantic City, CK Expo in Atlantic City and CK Expo in Los Angeles. Each show has its advantages and disadvantages. CHAMPS has been around since 1999, so it’s the most well known and has the highest attendance of buyers and vendors. Their weakness actually lies in their success. As the show has grown, it has become
Darth Vader Helmet by Banjo: AGE Spring 2011 Photography by Dede Giddens
ur current roster of wholesale trade shows
the returns necessary to justify the expense.
is unsustainable. There are industries
And when buyers are traveling to Vegas
much larger than ours with fewer shows. The problem is that these additional shows
more difficult to find a venue that’s both large enough and willing to host our industry.
twice in a month so they can catch all the
In the fall of 2010, CHAMPS solved the
shows, they’re increasing their costs without
venue problem by moving to the Las Vegas
Convention Center. It’s as big as our industry will ever need and they actually want us to
aren’t adding value. If each additional show significantly increased a vendor’s annual
420 Science spends about $10k per trade show.
be there. But this solution created another
sales, it wouldn’t be a problem. But that’s not
This covers the cost of the booth and all of the
problem - timing.
happening. Instead, the same revenue (or only
other expenses that go with it - flights, hotels,
slightly more) is being spread out over several
rental car, freight, union fees, etc. When we
The LVCC is not available during the week of
simply went to CHAMPS in the spring and fall,
the ASD trade show, which is when AGE and
we spent $20k per year and it was a good use
CHAMPS have traditionally occurred. Some of
of our resources.
our industry buyers and vendors like to attend
That means vendors are incurring additional costs to attend multiple shows, but not getting
the ASD show, which offers a wide variety of
general merchandise, so AGE kept its schedule
traditional trade show that aligns with ASD
it was worthwhile for nearby vendors due to
aligned with ASD. This means traveling twice
and AGE. The first show only had 120 booth
lower travel and freight costs, but 420 Science
to Vegas within a month for anyone who wants
spaces (compared to 420 at the most recent
(and I’m sure many other vendors) will not be
to attend both CHAMPS and AGE.
CHAMPS), but the spring BIG show will
making the trip again.
nearly double to 229 booths. Although it’s AGE began in 2007 with a key focus in two
a new show, BIG has the potential to unseat
On a positive note for the CK Expo, they
areas. The show prides itself on the strict
CHAMPS as the industry’s primary trade show
teamed up with the UCCTO and hosted
adherence to only allowing vendors with American-made glass to exhibit. They don’t want imported glass at the show and they
“Our current roster of wholesale trade shows is unsustainable.”
require vendors to
educational panels that provided real value for those in attendance. The first morning was focused on business practices relevant to our industry, and the second morning was a roundtable discussion with two attorneys about the legal challenges we face. I’d love to see events like this at every trade show.
show some proof of origin. They’re also a non-
if it can overcome the venue problem while
profit show and work hard to keep costs down
maintaining alignment with ASD and AGE.
for all the vendors.
The CK Expo will have a show in Los Angeles in 2012. I believe this has more potential for
In addition to the timing advantage, the BIG
success than the Atlantic City show, but it all
One of the ways they’re able to keep costs
show offers digital badge scanners so vendors
comes down to the buyers. The buyers need to
down is by having the show in a large block
can easily compile an electronic list of everyone
show up in significant numbers to warrant the
of hotel rooms rather than a convention
they talked to at the show. Providing added
costs incurred by the vendors.
center. Some people like the more intimate
value to the vendors will be key for BIG. Of
environment this creates; others prefer to work
course, the disadvantage that BIG faces is that
So what does all of this mean for the industry?
in a more traditional setting at a booth.
many vendors and buyers have been attending
It appears that we’re headed for a showdown
CHAMPS for years and feel a sense of loyalty.
between CHAMPS and BIG. CHAMPS has built
In these trade show wars, AGE has the
a strong reputation over the years and has a
advantage of its timing (it aligns with ASD)
As a supplement to the three Vegas trade
loyal following. But that loyalty will be tested if
and its focus on an important, sizable segment
shows that each occur twice per year, 2011
BIG is able to continue growing and buyers opt
of our industry - American-made glass. AGE
saw the addition of two shows in Atlantic City -
for the convenience of shopping BIG, AGE and
isn’t concerned with being the biggest trade
CHAMPS in May and CK in October.
ASD in the same week.
potential disadvantage is their setting and
While it’s admirable for the shows’ creators
Initially there will be some buyers and vendors
some of the challenges that come with having
to seek growth for this industry, Atlantic City
who are willing to travel to Vegas twice in
a show in hotel rooms.
is not the place to do it. Both shows did a
a month, but those numbers will steadily
good job of getting the vendors on board, but
decrease. We’re in a competitive industry and
The BIG Industry Show was started in
there weren’t enough buyers at either show
costs must be justified.
the fall of 2011 to satisfy the need of a
to justify continuing to go to that city. Perhaps
show and serving everyone, so their only
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I predict that CHAMPS will see attendance significantly drop if they don’t find a way to align with AGE and ASD. However, if they pivot and align their fall 2012 show with ASD, then it will be much more difficult for BIG to gain traction. AGE will continue on regardless of the outcome between CHAMPS and BIG. Their focus on American-made glass and non-profit status is a winning strategy for survival and growth (although not dominance). Either CHAMPS or BIG will win the struggle for supremacy - it’s just a question of whether it’ll happen quickly, or be a long, costly and painful battle. Matt LaPrairie is the co-founder & CEO of 420 Science. You can follow him on
Twitter @MattLaPrairie or read his blog at www.420CEO.com. Email your thoughts and ideas to CEO@420Science.com.
Warm Regards Matt LaPrairie
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TRADE SHOW DIRECTORS... IN THEIR OWN WORDS
Benefiting the stores: Each vendor is handpicked to ensure the best possible buying experience. Stores are able to attend with out the hassle of walking through an exhibit hall all day. At AGE, you can do business comfortably without distractions.
American Glass Expo Glass Industry Trade Show March 26-28, 2012 Alexis Park Resort by Ellen Macaluso In a saturated trade show market, AGE still stands apart. The American Glass Expo first opened in Las Vegas in 2005, showcasing the highest quality of American made glass, all in one place. This non-profit organization ultimately created an affordable place for glassblowers to conduct business and do it effectively. Each year, they donate all proceeds from the charity auctions to a chosen non-profit.
Benefiting the vendors: Boutique hotels are the preferred choice of venue. Why pack everyone into huge exhibit halls only to be overlooked by important buyers? This event is meant to personalize your business in a cost effective manner. Each vendor is given a showroom to display merchandise. As well as, the place where you sleep at night. Unlike an exhibit hall type event, where you’d only get the usual 10x10 area of space with a trash can, and a lot of hassle when loading in your merchandise. AGE creates a casual and intimate shopping experience, focused on serious buyers. A “better buyer” places larger orders, and will be a client for
life. AGE vendors are glass companies and independent artists, and American made tobacco accessories are welcome. In March 2012, A.G.E will host a number of special, extra events… -Sunday 3/25/2012: Early Bird Buyer Presale Event. This is an evening event usually meant for buyers who are invited by vendors personally. Buyers are welcome to shop this night with the vendors that are ready for you. a-Daily Mon-Wed 12-6pm: the new AGE demo trailer! Artists will be creating one-of-a-kind pieces that will be auctioned at the charity event on Tuesday night. Artists include: Lurch, Fathead, Eusheen, Natey, Tyme, Zii, Jmass, and Kind. -Mon 3/26/2012 6pm: Darby, Buck and Abe F. INVASION. An “Interactive performance.” …So, if you want to see an OUT OF THIS WORLD show by these guys, don’t miss it. Because WE aren’t even allowed to tell you what the #%*@ they’re doing.
-Midnight Mon 3/26/2012: Midnight Slinger movie screening. The artist and filmmaker Marble Slinger will have a special MIDNIGHT screening of his film “Degenerate Art: The Art and Culture of glass pipe making.” Admission $10. -Tues 3/27/2012 7pm: Charity auction. Silent & Live. Donated pieces plus AGE trailer demo artwork will be auctioned. -Tues 3/27/2012 9pm: Annual AGE awards. Hosted by Merc. 10 awards given to the top voted industry members, artists and companies. Vote online @ www.ageshowusa.com. -Tuesday 3/27/2012 @ 10pm High End Auction: Live. The most amount of High End artwork in one place. Pieces will be available for viewing Sun/Mon/ Tues. Contact us! 866.462.9757, www.ageshowusa. com, firstname.lastname@example.org Ellen Macaluso is the Director of American Glass Expo (A.G.E.)
CHAMPS Trade Show February 21-23, 2012 Las Vegas Convention Center by Jeff Hirschfeld Recently I was asked a question by a store owner in Wisconsin: Why don’t we just move the dates of the CHAMPS Trade Show to correspond to the dates of the American Surplus Dealers (ASD) show? The store owner operates a general store with a smoking section in
the back. He sources cigarette papers, incense, various tobacco pipes, as well as his general merchandise at trade shows, and said it would be great if he could get it all at one place. I explained why we needed to host our show at the Las Vegas Convention Center (LVCC) and that we have no choice but to break away from the dates for ASD (keep reading for the details). In the end, the LVCC provides a reliable venue where we can be as big as we can be, allowing us to actively seek out established, new, and exciting distributors that have the products you want - all in one place! The beginning... Back in 1998, we at Gage Waterpipes along with approximately 40 other businesses had been attending the ASD industry show. They had us off in what they called the “pulse section” in which our types of alternative smoking products were allowed. In September of 1998 we all got letters from their management stating that those of us in the “pulse section” would not be invited back to their show. So about ten of us wrote a letter to ASD in an attempt to come to an agreement or a compromise, but their “sorry, you are all out” response was the same. We felt rejected, to say the least, as we all had legitimate businesses, we paid our taxes and we all had payrolls and bills to pay. Yet there we were, dismally thinking about going back to running those businesses out of the backs of our trucks at festival parking lots or anywhere to try to stay afloat. Four months later, we held the inaugural Contemporary Tobacco Accessories (CTA) show at the Gold
Coast Hotel with 34 booths. Over the next few years, we grew rapidly and needed more and more space. With that growth came growing pains, especially the ongoing problem of finding a suitable venue that would let us return year after year. We had subsequent shows at Palace Station, then at Cashman Field, but it was at the Stardust Hotel in 2004 where we made the transformation into the CHAMPS Trade Shows, emphasizing our commitment to American glass artists. The Stardust Hotel seemed like a good fit, but in 2007 it was torn down. CHAMPS then moved to the Riviera Hotel for two years until we moved to The Mandalay Bay. After two shows there—boom!—we’re out of there too. (If you put 1000 people attending a show in one hotel, 90 percent will follow the rules, but the other 10 percent historically cause a problem with the management). You might note that two other recent trade shows had similar problems. Why is the Buyers Industry Guide (BIG) show not at the Hard Rock again? BIG is still much smaller than CHAMPS, so they’ve been able to find a temporary solution that coincides with ASD. But will they be able to sustain that solution? Likely, options will run out, or they’ll be forced to remain small in size, continuing to limit your opportunities as a buyer. The aforementioned shop owner asked me why not have CHAMPS at LVCC and have it coincide with the ASD show dates? Good question. As it turns out, ASD has a contract with LVCC banning any other gift shows for 21 days in
either direction. We applied for an exemption and were turned down. Any other option would have to be a hotel that has the services to absorb a large industry show, but these larger venues are not willing to sign multi-year contracts. We would have to move the show year after year. So, the only real options were; 1. Bounce around and change hotels every year, or; 2. Put down roots at the LVCC where we all can do business in a professional and safe environment. Being at the LVCC demonstrates to the world that we belong and we are here to stay. CHAMPS is able to leverage the LVCC location to grow and suit everyone’s needs. We are aggressively going after other in-demand product areas so that CHAMPS will be the only place your store will need to go. Additionally, we are also able to leverage our large customer base to negotiate incredible room and food deals available only for CHAMPS attendees. We’ve worked out contracts with the Hard Rock, Hilton, Platinum and The Tuscanny (our featured hotel). We’ve pre-bought 1000 suites at an amazing $38.00per (tax and resort fee included, twofor-one dinners, and more). We’re also providing a shuttle that will run all three days of the show (from all sponsored hotels) to improve the experience and save your hard-earned dollars along the way. Finally, just like we did last year for our 25th show, we will be giving away 1000 dollars in Champs Cash to a lucky store every hour (up to 26 winners for $26,000). We are bringing in 40 of the worlds greatest glass blowers to compete in the Champs Glass Games finals. With
40 blowers and $35,000 in cash prizes there is sure to be some of the most incredible art glass ever produced. We have over 420 exhibitor booths at Champs 26! It’s bound to be our greatest show yet - we hope to see you there!
business. It’s about meeting buyers face to face, staying up to date with the freshest products to hit the market, and creating an environment that will generate profitable transactions for everyone. All with one common goal, to keep our growing industry flourishing and always moving forward.
Jeff Hirschfeld, President of CHAMPS Trade Show Gage Enterprises Gage Rubber
Come to the Galleria Exhibition and see TOP American Glass Artists Coast to Coast at the BIG INDUSTRY SHOW 2012. Galleria Exhibit will embrace american glass artists and their masterpieces. This is a one of a kind opportunity for buyers to have access to fresh new art from the top names in the american glass industry. Don’t miss it!
BIG Industry Show March 26-28, 2012 Bally’s Las Vegas Hotel & Casino by Gustavo BIG Industry Show cordially invites all buyers nationwide to attend the BIG Industry Show in Las Vegas March 2628, 2012. Meet hundreds of suppliers nationwide representing the Specialty Gift Industry including Smoke Shops, Adult Stores, Tattoo Shops and other Alternative Markets. Manufacturers, Distributors, Wholesalers and Retailers will join for the Industry’s Premier B2B Wholesale Event. Where everyone will have the opportunity to embrace American Glass Artists, the Glass Industry and their Masterpieces at the Galleria Exhibition. Hosted by experienced individuals that know the industry and with the support of leading major brands in every product category. Our show is about
Adam G, Buck, Darby, Hamm, JAG, Lacey, Micro, Robert Mickelsen, Salt, Snic, Worm, and Zach Puchowitz Buy Exclusive high-end glass art at wholesale prices direct from the Artist and see their exhibitions live. Pre-register today and take advantage of our Retailer Incentive Specials. Call for details 1-888-420-3386 One Trip. Four Shows. More Variety. Higher Profits. See over 200 Vendors at the BIG Industry Show 2012. High End American Made Glass. New Products. Major Brands. Don’t Miss it! Setting Standards. Doing BIG Things. The Industry United. For more information, call 1-877-484-3301 Gustavo is president of BIG Industry Trade Show www.BIGGalleria.com www.BIGIndustryShow.com www.BuyersIndustryGuide.com
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Photography and Article by Jeni C. Enck*
As you read this, no doubt, Phish just completed an epic four night run at the famed Madison Square Garden in New York. However, as this article went to press, those events had yet to happen. So I am trying my hand at a review of another wellknown jamband, Furthur, who is no stranger to MSG and NYC. The Grateful Dead was the first jamband and clearly the most prolific. That said, the founding members, Phil Lesh and Bob Weir who join together with Sunshine Becker, Jeff Chimenti, John Kadlecik, Jeff Pehrson and
Joe Russo to create Furthur, are no less fantastic today than they were in their heyday. Okay, right? Who am I kidding? This ain’t Europe ‘72 - as those of you with the recent limited edition box set can attest. And who am I to be writing a music review of these guys anyway? I am content to listen to Bon Iver’s recent selftitled album on a loop. I’ll let you draw your own conclusions as to what kind of lunatic that makes me. That, coupled with the fact that I’ve seen Phish nearly 200 times, should paint an appropriately kooky picture of
this self-described “music lover.” Now, back to the “review.” It may not be Europe ‘72, but thankfully, it is also not July, 2010. I was in attendance for the infamous Nokia Theater show last year when we could only assume Bobby was having a stroke. It was later speculated that someone slipped something into his drink, but the general debacle left me a bit weary of the whole Furthur experience. Without a doubt, I can say the November 10th, 2011 show was the great redeemer. Everything about this show, from the song selection,
size of the venue and energy it held, made this one for the ages. The full set list is at the end of the aricle, but the highlights for this music fan were definitely the first set’s “Tennessee Jed” with Larry Campbell (fiddle/ guitar) and Teresa Williams (vox), which eventually bloomed
into “Eyes of the World” and closed with “Box of Rain” - one of my all-time faves. It reminds me of high school. I’d be willing to bet it reminds a lot of you of high school too. The second set opened with a bang. Say what you will, but Shakedown Street is damn catchy. Try not to boogie during that tune, I dare ya! Beers were getting spilled left and right; the whole venue was getting down. Furthur brought the funk. Things went more down-tempo from there, but it was no less tight and no less fun. Highlights included “The Other One” (undoubtedly in honor of the 10-year anniversary of Ken Kesey’s passing), and a classic rendition of “Fire on the Mountain” into an always enjoyable “Sunshine
Daydream.” The show was electric from start to finish and, quite possibly, as good as it gets! Well, until next time. . . Jeni C. Enck is a cynical New Yorker, avid concert goer and founder of CustyNoob Productions. First Set: Sugar Magnolia > Scarlet Begonias > Ramble On Rose, Tennessee Jed*+ > Uncle John’s Band* > Eyes of the World > So Many Roads*, Box of Rain* Second Set: Shakedown Street > The Other One* > St. Stephen* > Unbroken Chain > The Wheel > Days Between > Keep Your Lamps Trimmed and Burning+ > Fire on the Mountain* > Sunshine Daydream* Encore: Attics of My Life*+ *-w/ Larry Campbell (fiddle/guitar); +-w/ Teresa Williams (vox)
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Ck Wholesale expo 2011
•66,000 sq. ft. •277 Booths •900 + Buyers The inaugural CK Wholesale Expo set up shop in Atlantic City at the fabulous Trump Taj Mahal from October 11th13th. Connoisseur Kulture succeeded in representing modern alternative smoke culture while promoting innovative business and artistic professionalism. Check out some of our choice shots from the trade show floor. Well done CK, we can’t wait to see what’s in store for round two!
Far Left: Trump Taj Mahal Left: CK Wholesale Expo Staff Middle Left: Micah Evans, ME, C&G Wholesale, Bottom Left: Skeye Wholesale Right: RYOT, KANNASToR, and VOLO
Right: Matt Mclamb, Formula 420 Booth Top Left: Evol Empire, Headdies Collection Middle Left: Blackie, Headdies Collection Bottom: Buck, Glass Rivers
Top Left: Elboâ€™s Kosher Dills Top Middle: Lord, Dynomite Distribution Top Right: Erik Anders, Monster Pipes Bottom Left: Zach Puchowitz Bottom Right: Zach Puchowitz
Top Left: Glass Artist Joe Luisi, photo by Shanti Berg Bottom Left: Team Death Star Poster
Top Right: HotBreath Magazine Models Bottom Right: Team St. George Poster
2011 FLAMEOFF Article by Grimm. Photography by Dede Giddens*
Step right up, Ladies and Gentlemen! Come one, come all, Glass Enthusiasts of all ages! Let me be the first to introduce you to the magical meanderings of “the World’s Greatest Flame Off ”, hosted this October at the Connoisseur Kulture wholesale show under the sparkling lights of the Trump Taj Mahal in fabulous Atlantic
City. This spectacular showcase, boasted some of the glass industry’s most savvy, skilled star-studded flame workers that it has been my great honor to work with. These titans of glass gathered together to compete for a prize of preposterous proportions, the prestigious golden pig. Three teams competed for three days with no restrictions to create
three works of amazing proportion, vision, and skill. So with no further ado, let me introduce to you the teams. Each of these teams was led by an illustrious team captain. Team Snodgrass was led by Bob Snodgrass. Bob is credited with
Left: Greatest Flameoff Invitational Poster by Troy Bennett, Whoopzip Above: Stu Stone, Flameoff MC Current Photo: Bob Snodgrass and grandson Ben Naiman
starting the grass-roots movement that became the modern pipemaking industry. Bob lives with his family in Oregon. Bob, who has been called by many an American Folk Art hero, enlisted the help of team members Wil Menzies of The Flow magazine, Ben Naiman, and Abe Fleishman from Northstar Glassworks. Team Ittig was led by Karl Ittig who is, without a doubt, one of the world’s greatest flameworkers alive today. Karl, who is from Wertheim, Germany, comes from a family that has been rooted in the glass industry for over 150 years, and Karl’s knowledge of glassworking has grown from his family’s generations of glass traditions. Karl recruited Dave Popowitz from Oregon and brought Walter Bahr from Germany. Team St. George was led by Lacey St. George from Oregon. Lacey has been proclaimed one the world’s pre-eminent female lampworkers Lacey’s glass art is renowned for its boundary-breaking, spiritual quality. Her team included Nate Dizzle and Buck. The three-team competition spanned three days of terrific flameworking. After two days of creating the artistic elements to be combined with the pre-made pieces needed to complete these masterpieces, the teams assembled and displayed their work on the third day of the Flame Off. Spectators watched the teams live or through the streamed webcast. Overall, this event had a laid-back atmosphere and ran very smoothly.
Above: Team Snodgrass Current: Team Ittig Right: Team Lacy St. George
The artists put on a splendid show with lots of action for the spectators to enjoy. The crucibles were a visual highlight, and watching Boxfan and Abe work together was amazing. The molten orange goo of glass as they pulled it from the crucible was hypnotic. They were forming the skulls with the most elaborate break-mold I have ever seen! Lacey’s team put on a great show, as well. Not only were they creating the glass elements, but they also were completing the woodworking and construction of the base which was fun to watch. Karl Ittig and his team offered a spectacular experience for the live and online audience, and their use of light and color highlighted the qualities of glass as a medium. There was also a refreshing amount of collaboration between the teams; a few skulls were handed off for some of the other artists to play with and, all in all, the teams worked very well together to make this exhibition what it was. One of the other aspects of the show that I thought worked exceptionally well was the level of interactivity of the event, being broadcast live on tokecity, with live chat responses being broadcast on the screen above the event. This created a certain link between the web audience across the country and the event itself. It was an immersive experience! The projects Team Snodgrass’ piece was inspired by Bob Snodgrass’ long career in the glass industry and by his influence on other glassworks through the development of the modern pipe movement. The end result was a massive pyramid wreathed in flame and adorned with hundreds of glass-skull pipes representing the flow of knowledge from Bob to his original
apprentices and on down to all of us in the industry today. For me, the theme of this piece tied well with the world première of the Marble Slinger movie. Ittig’s piece was an exploration of many of the traditional techniques he uses in his everyday work. Done in clear glass, he utilized and chose to play with the optical qualities of the glass which allowed him to use light to transmit color from the LEDs in the piece’s base. With lots of contoured glass elements surrounding a central figure, it is a truly splendid work. Team St. George created a piece based around a classic time in the history of the Atlantic City Boardwalk. It was very reminiscent of the Steel Pier outside the Trump and its carnival atmosphere. Lacey’s team created a very detailed carnival scene, featuring elephants and fiery hoops, a carousel, and even a Ferris wheel. Utilizing kinetic energy, the various pieces spin and turn, lit up from their elaborate base. Most of the components made were also functional pipes. What Team St. George offered its viewers was an amazing scene that combined form and function. The vote was a public poll that occurred after the contestants assembled their pieces on the third day, and online voting continued after the trade show was over. After all the votes were in and tallied, the winner was announced: Team Snodgrass: Bob Snodgrass, Boxfan Willy, Abe Fleishman & Ben Naiman!! I also wanted to extend my personal thanks to those who helped bring such a spectacular event together: to Jason Harris for his vision and dedication to create and execute this fabulous event; to Laura Wentworth for keeping us organized; to Barry Laffler for helping to coordinate the technical intricacies of a Flame Off; to Mary Hedges from Carlisle Gas Burners, whose extraordinary generosity supplied our fabulous tables, and even torches for many of our competitors; to Mike from Skutt Kilns, who supplied and helped to operate all the kilns for the
event; to Ross from ABR Imagery for every missing piece of hardware that we needed; to Abe from Northstar Glass for each and every thing he contributed to the event. I also want to thank every sponsor and contributor who combined effort and dedication to the industry allow us to create these kinds of extraordinary events, and thus the artistic endeavors of the industry into the public’s eye. I wish I had the space to give thanks to all those involved--but know your hard work and dedication helped make the difference. Thank you, one and all!
Lacy St. George and Stu Stone *photo by Shanti Berg
From Left to Right: Walter Bahr, Dave Popowitz, Karl Ittig, Stu Stone
Grimm is a flameworker from Tucson, Arizona. He has been the flame shop manager at the Sonoran Glass Art Academy, and has run their annual flame off since 2004. He also has been a lead flame off tech at several other flame off and live torchworking events, including the International Hot Glass Invitational in 2009, and the Colorado Project’s “Main Event” in 2010. Golden Pig: Flameoff Trophy by Kasey Tararuj *photo by Shanti Berg From Left to Right: Ben Naiman, Bob Snodgrass, Boxfan Willy, Abe Fleishmann
Left: Michael Enright Middle: Kasey Tararuj Rigth: Erin Cadigan
To celebrate the hugely successful opening day of the first Connoisseur Kulture Wholesale Expo, HotBreath Magazine hosted an epic after party at the Trump Taj Mahal’s exclusive Casbah nightclub. The festivity’s main event was a live art battle that featured music by Dj Tommi I and Dr. Magnosis, and included a hookah bar provided by Sahara Smoke. The artists took their places, MC Stu Stone introduced the painters, and the battle was on! Dj Tommi I set off the bash with a rootsy reggae set that brought an upful vibe to the packed dance floor; followed
by the electronic dance beats of CoSM’s Dj Dr. Magnosis that kept the high energy flowing. The live art battle featured the talents of three emerging artists: Michael Enright is an animation artist from Brooklyn who studied at the California Institute of Art; Erin Cadigan is a Brooklyn, NY graphic artist who was exhibiting her self designed clothing line, Three, at CK; and Kasey Tararuj is a painter out of New Jersey who was also responsible for creating the first place trophy for the Expo’s “World’s Greatest Flame Off”: the Golden Pig! Each artist was armed
with canvases and supplies to create a live painting inspired by the HotBreath theme. After two exciting 45-minute rounds, the packed crowd comprised of talented glass artists, retail buyers from all over the
US, the wide array of CK Wholesale exhibitors, as well as friends, family and supporters were set to vote. All of the artists’ paintings were exceptional, but the votes revealed Kasey Tararuj as the ultimate victor! Kasey’s story is unique, as she has been confined to a wheelchair since 2000 when an unexpected and unpredictable AVM on her spinal chord took away the use of her legs. Drawing and painting has become her most significant form of venting and dealing with life as a paraplegic. Having always been heavily inspired
by strange and surreal artwork, much of Kasey’s artwork could be described as bizarre with a touch of darkness, while her other work focuses on beauty or lighthearted nonsense. Kasey never limits herself as an artist or even as a person, constantly pursuing new projects and experiences while exhibiting artwork around the country and most recently internationally. HotBreath had the chance to ask Kasey about the art battle win and her involvement in the CK Wholesale Expo:
(epoxy sculpt) little by little to give him piglike features and greedy personality. What says greed more than a snooty pig smoking a fat cigar with accessories dipped in gold and a pile of pure gold coins? I added found objects, stained glass, and spray paint to compile all the elements into one glorious base where the Golden Pig stood tall and proud! HB: In relation to the CK Expo, what is your take on the art of glass blowing as sculpture art? KT: I have only been briefly introduced to the art of glassblowing, but I’ve found it to be astonishing. At the CK Expo, I saw people creating art I would have never thought possible with glass. It’s a beautiful medium and incredibly unique as sculpture art. I’d love to learn a bit more about it and maybe incorporate it into my own artwork. HB: You have also won Kid Robot custom design contests. Is designing vinyl toys a desire for you? Do you collect vinyl toys and if so, which is your favorite? KT: Yeah! Kidrobot put out several DoIt-Yourself toys (Munnyworld), in different sizes and shapes, and held 2 contests in the past two years highlighting these HB: Was this your first live painting
I usually spend more time thinking
event? How did you like it and how did
about what I want to do and how to do it,
it differ from your usual process when
while slowly and precisely focusing on all
creating a painting?
the details. Live and timed meant don’t
KT: This was my first live painting
think, just do, which is an exciting way
and I absolutely loved it. It was nerve
to paint... a way in which I have been
wracking, considering the piece’s size,
challenging and practicing on my own on a
time limit, and the fact that I had never
larger scale since the battle.
done anything like this before. The
HB: How did you develop the Golden
pressure was actually exhilarating and I
Pig? How much is sculpture/ 3D artwork
was more intensely focused on painting
a part of your body of work?
(or the quickness of painting) than normal.
KT: I took an existing figure and added clay
customized figures. I won twice each time. Last years contest had different sub-categories, and I was absolutely shocked and thrilled when I found out I won for “Best Animal” and “Looks Least Like a Munny.” This year, winners were chosen for each different DIY figure, and I was psyched again when I won for Best Foomi and Best Raffy. I won a ton of new Munnyworld figures, MegaMunnys, heavy gift cards, and more. Designing vinyl toys has become a huge passion of mine. It’s so fulfilling and exciting to create
a 3-dimensional character with an actual
HB: What are your goals as an artist and
HB: Thanks Kasey! Is there
personality, and it’s even more fun to come
what would you like to accomplish in
anybody you would like to thank or
up with those silly personalities. I started
your art career?
collecting vinyl toys a few years ago, so
KT: My one goal as an artist is to just keep
KT: I have to thank Jason Harris,
to be able to start making my own “one
making art and getting it out there. There’s
HotBreath, and Michael Briody
of a kind” toys has
nothing I’d rather
(LavaRubbers) for giving me the
become one of my
be doing than
opportunity to create the Golden Pig and
top favorite forms of
creating and having
experience my very first live painting
art to make. My toy
event! I also can’t help but thank my
collection is always
to share it with
parents, who have assisted me constantly
growing, and though
others. I’m grateful
since the very beginning with preparing
I don’t have any
that thus far I’ve
for art shows/events, shipping, technical
specific favorite toy, I do collect from certain
been able to display my work around the
issues, and a ton more. I wouldn’t be
favorite artists: Amanda Visell, Andrew Bell,
country and even recently, internationally.
nearly as far as I am without them and I
Damon Soule, and Nathan Jurevicius.
I have two series that I really want to focus
don’t thank them enough, so I thought now
on: One-Eyed Girls (the style painted live
would be a good time!
HB: Who are some of your favorite
at the event), which are distorted, but sexy
girls who show that unusual is beautiful...
Kasey’s work and blog can be seen online
KT: I’ve always been drawn to the art of
and KAOTIC KRITTERS, which are the
Tim Burton and Salvador Dali. They have
zany, silly cartoony style I use for the
About the author:
probably inspired and influenced me the
vinyl toys. I just want and need to keep
Melissa Baer is a sales and marketing
most. More recently, I’ve been very into a
doing what I love: creating, painting, and
representative, art enthusiast, and music
wide variety of local artists.
customizing toys... maybe someday I’ll
lover living in San Francisco, CA
have my own toy line!
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Could you tell us the story of Smoke 911? Smoke 911 is a retail tobacco and novelty store that we took over in 2003 and have expanded to 3 new locations in the last 4 years. The first location is located at 6125 Roswell Rd Ste 101a Sandy Springs, GA 30328. Smoke 911 sells any kind of tobacco accessory you can think of including hand pipes, hookahs, vaporizers, cigars, and other products including detoxification, herbal dietary supplements, scales, posters, body jewelry, incense, and self-defense items. We strive to price every item at the lowest prices and to have the best selection and customer service. The second location that opened in 2007 is 710 Holcomb Bridge Rd Ste 240 Roswell, GA 30076. The third is 3466 Cobb Pkwy Ste 120 Acworth, GA 30101. The fourth is 8265 Highway 92 Ste 108 Woodstock, GA 30189. We buy from local glass artists when it comes to hand pipes and bubblers and purchase the top quality name brands for glass on glass water pipes. We do custom orders if we don’t have a product you are looking for and are always willing to bring in new products if customers ask about them. We also match prices
if you find another product for less online or at another local smoke shop. Definitely don’t forget to come in on your birthday because you will get 20% off any item in the store! As shop manager you must see some crazy stuff! What are some of your best work stories? A customer brought her pet skunk to the store with her one night and it was on a leash. We decided to be pet friendly after that experience! A lot of customers ask to leave their personal belongings in order to get a product from the store (they have to pay for the product to get their personal valuable back). We have done it for a few customers and have several unclaimed watches and ID’s! Come get your nice valuable back if you are reading this!
Europeans, and the depiction of native people on smoke-shop signs was almost inevitable. He isn’t for sale, but we’re accepting offers! Your walk in humidor must attract a lot of patrons. Are you a cigar buff? I am not a cigar buff! You don’t have to be a cigar buff or hard-core aficionado to enjoy your time here. Our walk-in humidor features national brand cigars from Nicaragua, Dominican Republic,
What’s the deal with the giant wooden Native American? The giant Indian was carved by hand and was sitting in a museum in Boston before it was sold to a private collector of wooden Indians, who we bought it from. It represents tobacconists. American Indians and tobacco had always been associated because American Indians introduced tobacco to
This shop is busy! Where did you learn to be such a multi tasking ninja? We’ve always worked by ourselves (one employee per location) so I learned quickly how to multi-task so customers don’t have to wait long for help and get everything they need before leaving.
and Honduras. Even if you aren’t a regular cigar smoker, we have the right size and flavor cigar for you. Here’s a quote: “Maybe it’s like becoming one with the cigar. You lose yourself in it. Everything fades away. Your worries, your problems, your thoughts. They fade into the smoke, and the cigar and you are at peace.” - Raul Julia Do you attend many trade shows? If so, what is your favorite? I attended CHAMPS and ASD in Las Vegas two years in a row, but our favorite show was the smallest one: AGE (American Glass Expo) in Las Vegas because it was the most personal and we saw a lot of individual glass blowers’ unique work. Some of them were even willing to sell their work at the end of the show so we bought some and shipped it to ourselves!
Have you ever tried your hand at glassblowing? Who are some of your favorite glass artists? I have watched glass blowing but not tried it before. Mike Fro and Salt are my favorite for hand pipes and bubblers, and Toro is my favorite for water pipes. I see you have a glass raffle going on. How have your customers responded? Customers are purchasing tickets to win a $374.95 bubbler made by Josh Cohen out of New Orleans. He is famous for his Vic Odd glass which he makes in tall water pipes and bubblers mainly. It’s only $1.00 per ticket, and you can buy as many tickets as you want to increase your chances. We will draw the name close to the end of December.
Has the rising popularity of “The Walking Dead (filmed on location in Atlanta, GA) increased your zombie clientele? Definitely! How has the shop changed under your reign as manager? Sales have increased because I work hard to get good employees and products in and keep them in stock regularly! The year is 2030. What new products are in Smoke 911? Lots of new synthetic and natural supplements that people can use to enjoy as their legal alternative to achieve their desired effects. Detoxification that cleans you out permanently and doesn’t take a week! Unbreakable water pipes that aren’t acrylic. Talking scales that detect impurities in products when you tell it what to test for.
INsite Magazine has repeatedly awarded you “Best Smoke Shop” in Atlanta. What sets Smoke 911 apart from the other local shops? Smoke 911 strives to keep products in stock and if we run out of an item, we usually have another brand that is a substitute for it that we’ll sell you at the same price. We get orders in every day, so we’re always putting out new inventory and want to order what the customer wants. We always listen to feedback and suggestions for new products to get in. We train all our staff to be very knowledgeable on the products so they can answer all your questions.
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according to the lawsuit - nearly every brand name being used by the three major tobacco companies. Thus, at least 90% of the market is protected by this exemption, while the market of cigarettes produced by minor companies is at risk.”
taste this! Juicy Jay’s :
HERE TO STAY: PART TWO FDA: NO NEW BRANDS OF ROLLING PAPERS OR OTHER TOBACCO PRODUCTS! by Joshua Kessleman One little-known provision of the FDA’s new law says: “A manufacturer shall not use a trade or brand name of a nontobacco product as the trade or brand name for a cigarette or smokeless tobacco product, except for a tobacco product whose trade or brand name was on both a tobacco product and a nontobacco product that were sold in the United States on January 1, 1995.” The FDA’s current thinking is or was that Rolling Papers are a tobacco accessory and thus a tobacco product. Based on that logic, any brand of rolling papers that wasn’t in the marketplace as of January 1, 1995 and is also used on a non tobacco product (anything you can imagine), can’t be used on
rolling papers. This part of the law is arguably unconstitutional and “written” by “Big Tobacco” to give themselves a complete monopoly of the marketplace. In fact, Fortune magazine called the FDA bill the “Altria Earnings Protection Act” (Altria is the owner of Marlboro). Before the FDA bill was ever made even remotely public, Lobbyists for Altria had reportedly distributed a precis of the then upcoming FDA bill to members of Congress, a precis which displayed an intimate knowledge of the bill far in advance of any public notification. “Why not?” some in the tobacco control movement have wryly commented, “they wrote them.” According to Dr Siegel, a Professor at Boston University, “Not coincidentally, the top six cigarette brands in the U.S., all manufactured by Big Tobacco companies, are protected by the Act’s exemption for products that were used as both a tobacco and nontobacco brand name in 1995. For example, Marlboro merchandise was being sold in the U.S. in 1995, so if any non-tobacco product comes on the market with the Marlboro name, Marlboro products are protected. The same protection holds for Camel, Newport, Winston, Doral, Basic and
According to Attorney Ian D Titley of Gavin’s law blog: The regulations (21 CFR 1140.16(a)) will outlaw tobacco brand names that don’t pre-date January 1, 1995 if they are the same as ANY OTHER trade name or brand name – for ANY product at all. If the FAA made this rule Delta Airlines would have to change its name because of Delta Dental and Delta Faucets. The FDA states it is “aware of concerns regarding this provision and is considering what changes, if any, would be appropriate.” There is no assurance any changes will be made. This rule is completely contrary to fundamental trademark law which only prohibits overlapping marks if they are likely to cause confusion. The FDA regulation makes it virtually impossible to utilize a brand identifier for tobacco products for brands introduced after January 1, 1995. It prohibits a tobacco product name unless it is completely unique in the universe of brand names and trade names. Even if there is zero chance of confusion a brand name used for anything at all will now pre-empt tobacco brand names. It gets worse – the regulation provides no protection going forward. If a tobacco product manufacturer establishes a unique brand name, let’s say it is “XYZ,” and later on someone starts selling XYZ hair brushes – all of a sudden the tobacco company’s name is illegal. And the tobacco company has no way to
challenge the hairbrush company’s use because there is no likelihood of confusion. Now the FDA surely recognizes that this part of the law is going to likely be struck down in court. In fact one of our peers at Renegade Tobacco filed suit against the FDA over this provision. Shortly after the suit was filed, the FDA posted on their website that they are “considering our concerns”. This is what they posted: FDA is aware of concerns regarding this provision and is considering what changes, if any, would be appropriate to address those concerns. While FDA has this issue under consideration, it intends to exercise its enforcement discretion concerning 21 CFR 1140.16(a) not to commence enforcement actions under this provision for the duration of its consideration where:
Well, any brand of rolling papers that was launched after June 22, 2009 is subject to enforcement actions (seizure) if that brand name was also previously used on anything else at all in the United States (clothing, books, toys, cars, food, water, ANYTHING). Even for brands that are older than June 22, 2009 but younger than January 1, 1995 the FDA may at any time decide to enforce on that brand or product as well! According to Dr Siegel, “This provision all but ensures that the major tobacco companies can eliminate any competition from the smaller companies. To do this, they simply have to market nontobacco products with the brand names of their competitors.
THE MARKET OF CIGARETTES PRODUCED BY MINOR COMPANIES IS AT RISK.
(1) The trade or brand name of the cigarettes or smokeless tobacco product was registered, or the product was marketed, in the United States on or before June 22, 2009; or (2) The first marketing or registration in the United States of the tobacco product occurs before the first marketing or registration in the United States of the non-tobacco product bearing the same name; provided, however, that the tobacco and nontobacco product are not owned, manufactured, or distributed by the same, related, or affiliated entities (including as a licensee). Until the FDA makes a final decision the Renegade Tobacco suit is legally frozen. So where does this leave us?
In other words, all Philip Morris has to do if it wants to eliminate competition from minor tobacco companies is find out the brand names of all the brands these companies are marketing and introduce nontobacco products with those brand names. Unless there were already nontobacco products with those brand names in 1995, those brands will have to be taken off the market, or renamed. But if they are renamed, then all Philip Morris has to do is introduce another nontobacco product with the new brand name. Essentially, then, the smaller tobacco companies are prohibited from selling any cigarettes. If the minor companies try to get around this by using as a cigarette
brand name the name of a nontobacco product that was on the market in 1995, that doesn’t work. Why? Because the name needs to be the brand name of both a nontobacco and a tobacco product in 1995. This is as protectionist a piece of legislation as I’ve ever seen. The impact of this provision is merely to prevent smaller tobacco companies from continuing to compete in the marketplace, and to protect the market share of all but the largest tobacco companies. Moreover, there is no public health justification or aim for this provision. It neither serves nor advances any public health purpose.” So where do I stand on the issue? It appears that the law in question was written, at least in part, by “big tobacco” to give them a monopoly. That’s just plain wrong on so many levels. It appears launching a new brand after June 22, 2009 is almost impossible under their current thinking. I do not agree with their current thinking nor do I think any laws should be written by the biggest tobacco company in the world. As you might already know, I have challenged the FDA on the issue of whether a separately sold rolling paper is a tobacco product and am still waiting on an overdue rulling. Big Tobacco became Big – and remains BIG by using teams of the best lobbyists to propose laws and regulations to protect and grow their market. This part of the law shows just how tricky and intricate they can be. The benefit to these pre-1995 grandfathered trademark owners cannot be overstated. Can you guess which cigarette manufacturer
Continued from page 93 advocated for this FDA regulation? (Hint – Marlboro is one of the most valuable trademarks in the world – and it was around long before 1995.) So what can you as a retailer do? You can concentrate your efforts on promoting small brands of RollYour-Own tobacco and steer your customers away from anything owned by Big Tobacco. However even the delightful brands of RYO such as Peter Stokkebye (unfortunately now owned by Imperial Tobacco/Commonwealth) and American Spirit (now owned by Reynolds / Camel) are part of Big Tobacco. The only true small brands that you could support are little guys like Kentucky Select & Custom Blends. Of course I hope you’ll teach your customers to wrap that tobacco with a RAW artisan unbleached rolling paper.
tobacco they stop feeding both Big Tobacco and the Government. I know that if my seeds continue to succeed Big Tobacco will use the US Government to somehow ban us all from being allowed to grow our own tobacco. It’s just too easy and cheap to grow and cure – it can even be grown as a beautiful flowering houseplant! Each Tobacco plant produces hundreds of additional seeds every year! A pound of tobacco is subject in most cases to over $100 in taxes alone. Imagine how much your customers could save by growing their own Don’t worry about your profits because they still need to buy papers and accessories (which are much higher margin for you than actual tobacco). DON’T FEED THE FAT EVIL CATS! Joshua Kessleman is founder and CEO of HBI
I am so disgusted with this whole fake regulatory and compliance mess that personally I only smoke tobacco that I grow myself. Remember that tobacco is a natural plant that has existed naturally in North America for millions of years. I grow organic Burley and Virginia and slow cure it in my garage. It takes months to grow, months to cure, but when it’s done I know exactly what’s in it and how it was grown. I even use vegan fertilizer (no bone meal – instead I use Kelp)! When I smoke I don’t use a filter and if I catch one of my friends using a filter with my tobacco I get extremely insulted. I didn’t spend 9 months growing and curing this wonderful plant just to have it filtered out! Instead I use a paper tip and encourage others to do the same. This little habit of mine caused me to launch America’s first consumer marketed tobacco seeds. I’m trying to spark a Grow-Your-Own revolution because if a person grows their own
Internatational. About Dr Siegel: Dr. Siegel is a Professor in the Department of Community Health Sciences, Boston University School of Public Health. He has 25 years of experience in the field of tobacco control. He previously spent two years working at the Office on Smoking and Health at CDC, where he conducted research on secondhand smoke and cigarette advertising. He has published nearly 70 papers related to tobacco. He testified in the landmark Engle lawsuit against the tobacco companies, which resulted in an unprecedented $145 billion verdict against the industry. He teaches social and behavioral sciences, mass communication and public health, and public health advocacy in the Masters of Public Health program.
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THIS ONE’S FOR YOU BOB By: Brady Daniel
Hello, I wanted to put together a few personal words about freedom as it relates to life. I am the founder of Magnum Detox, and have been in the smoke shop industry as both a manufacturer and a store owner for the last 10 years. I work many hours, and have done so for years. I tell people all the time that I work 70 hours a week, but I don’t have a boss. For me, it’s worth the sacrifice 100%. I don’t get satisfaction working in the corporate world, as I have done several times. I have always come back to run my own company, as the feeling of freedom and personal satisfaction outweigh the drawbacks and stresses. If I succeed or fail, it is of my own accord. Freedom is valuable to me. What do you really stand for? What really moves you? Who do you admire the most? You, like me, may read interviews about people where
they are posed these questions. I think you can learn a lot about people by asking them who they admire. It gives you insight into their values and priorities. The person that I admire the most is Bob Marley. Although he is not a man without his own faults, he is my hero for the way that he selflessly fought for the freedoms of people that did not have a voice. And he did so gladly, and paid the ultimate price. Bob Marley sang about freedom in a time and place in which such talk was dangerous, even life threatening. That, to me, is why his words are so powerful to everybody that hears them. In a land of corrupt politicians, abject poverty, and oppression of every civil liberty known to man, his message was one of self reliance, strength, and resistance to these injustices. He was a hero to his countrymen, and in the process became a star. But he was more than a pop icon. He was an icon for freedom. I am a proud American, and therefore this is my country, as much as it is the country of the lawmakers and politicians that we elect to run it. As much as it is the country of immigrants, poor, women, and all of the people that make up the melting pot we call home. I believe that standing up for civil liberties will always be morally correct. Freedom should be given freely, but when it has been taken away, we have to be diligent to realize that we are losing our ability to make our own objective choices about our lives and the way we live them. What do you do when you notice that somebody is trying to curtail
WHAT DO YOU REALLY STAND FOR?
your freedoms? I ask you, what do you really stand for? You should all stand up. Stand up for your rights. Do you stand for people to be free? Free of oppression? Free to pursue their American Dream? I believe that you cannot be happy unless you are truly free. Don’t let others control your mind. Go out and find out your own truth. Do your own research. Read history. Read Philosophy. If you are sitting in church being told which way to vote on a subject, are you really free? If you are in the teachers union, and they tell you to vote straight down the democratic ticket, are you really free? This is fast food thinking. Get organic. Grow your own mental food. Stop listening to half truths, and find out the real facts yourself. Be Free. Free from mental enslavement. Free from financial enslavement. Free from political enslavement. Free to speak your mind. Free to worship how you see fit. Free to smoke what you want to smoke. Free to cleanse your body. Once you recognize how valuable and rewarding freedom can be, pass this knowledge on. Help other people become free. What’s the point of personally becoming free if everyone around you is still not free? Being part of a community of free people is beautiful.
1. personal liberty, as from slavery, bondage, serfdom, etc 2. liberation or deliverance, as from confinement or bondage 3. the quality or state of being free, especially to enjoy political and civil liberties 4. (usually followed by from) the state of being without something unpleasant or bad; exemption or immunity: freedom from taxation 5. the right or privilege of unrestricted use or access: the freedom of a city 6. autonomy, self-government, or independence 7. the power or liberty to order one’s own actions 8. philosophy the quality, especially of the will or the individual, of not being totally constrained; able to choose between alternative actions in identical circumstances
Ready to Roll Roll & Cut or Pack & Go, Its the RYOT© way to smoke.
Method 1: RoLL & CUt Roll Your Own
Smoke and Enjoy
Cut “Shortys” To Size Store in Freshness Pouch
Clean with Poker
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Method 2: PACK & go Grind Tobacco/Herbs
Load into Pouch
Smoke and Enjoy
Poke out Ash
Pack from Pouch
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HotBreath Magazine Volume 2: We travel thousands of miles to bring you the most engaging coverage of our blossoming industry. Enjoy more art...
Published on Jan 9, 2012
HotBreath Magazine Volume 2: We travel thousands of miles to bring you the most engaging coverage of our blossoming industry. Enjoy more art...