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I met Bisco Smith (a.k.a. Brad) several years ago after having first been enamored with his visual art as a designer for one of my favorite music labels growing up, Definitive Jux, after my friend put me onto his work. I also admired the aerosol art that he adorned New York City walls with, his thoughtful lyricism as an emcee, his passion as a youth art educator. After just relocating to LA this past summer, Bisco, along with his creative partner (and girlfriend)--cinematographer and photographer Jasmine Hemery--banded together with a few other talented friends to bring their love of hip-hop and youth development to Israel as a vehicle to unify Israeli and Arab Israeli youth. There they used their hip-hop sensibility to teach mural painting, song-writing, and dance. In this joint interview with Bisc and Jasmine, we give you a glimpse into how their fleeting idea became a transcontinental art program, and how this Jack and Jacqueline-of-all-trades pair continuously push each other to the next level.
As U.S.-based multimedia artists, how did you develop an arts enrichment program in Israel?
Bisc:I work with an organization called Arts By the People. They're based out of New Jersey, and I got involved with them via my friend Gus doing street art workshops. Gus connected me to this guy Paul who's got a lot of friends in Israel. We were driving around one day and we were just like, “It would be crazy to run this workshop in Israel,” and two weeks later Gus, Paul and I put together a PDF to get money--just breaking down what we wanted to do--and boom! He got us funding in a week. Okay, maybe not a week. It took a few steps, but he reached out to one person, who reached out to another person, and maybe a few steps later, we got funding and we got a place to go to. It was a very fast process.
We then connected with Project Harmony, a program who works with a great organization in Israel called Hand In Hand. The umbrella that we went to Israel under is Hand In Hand, and inside of it was Arts By The People and Project Harmony. The airfare was privately funded for, and the accommodations were privately funded. We raised money for the materials, which were all donated by friends and family in a really quick matter of time. Between Hand-In-Hand, Arts By The People, and Project Harmony, and donors and friends and family, a lot of people got together to make it work. I went to do the street art workshop. Jasmine came to document everything, Gus planned to do hip-hop song writing, and our friend Renee Floresca came to teach dance.
How many kids did you work with?
Bisc: We worked with about 50-60 youth. It fluctuated especially because Ramadan started around then. It was an English language summer camp that is run out of Hand In Hand, which is an English language school, so they teach in each classroom--they have one teacher who teaches Hebrew, and one teacher that speaks Arabic in each classroom. They use English as the common thread. It’s a mix of Jewish and Arab kids. Some from Palestine and some from Jerusalem. It’s very progressive and political. There are a few of those schools in Israel.
How does religion play a role in the day-to-day life of the Israeli youth that you worked with?
Bisc: In Israel, things are segregated by religion. I don’t know too much about the experiences of Christian and Muslim Arabs, vs. Jews, but pretty much, everyone is separated because religion is the key factor out there. Younger generations and more progressive people are changing stuff. Most of the parents of the kids that we worked with are artists or creative people. They function in not your everyday world.
As Americans, did the actual experience of being there change your initial view of that region of the world?
Jasmine: I feel like our experience was only formed through our actual journey out there. Initially, we went to Palestine, but we also saw The Holocaust Museum in Israel, and so understanding both perspectives changed what we thought. I think we ended the trip realizing that it's just such a complex situation beyond what we thought we knew. Both sides have views that are relatable. I left feeling much more empathetic to both sides. I think being in The States you have such a skewed perception that leans towards one end.
Bisc:Going there, we went for art. We didn’t go for politics, we didn’t go for religion. Everyone goes to Israel for religion and politics. People don’t really go there for art, so our political knowledge was only what we hear on the internet and it was very skewed. I wasn’t scared by that. I was more focused on the kids than I was about the political climate.
Was working with the youth there challenging because of language or cultural barriers?
Bisc:I don’t think so. The kids we worked with were very educated. I initially thought that we were going to go to a more underserved area. I think it was actually pretty privileged--not super rich and balling out--but the kids, even to be in a program like that you have to have a family that is doing pretty okay out there.
The kids just loved what we were doing. After the first day, we had their full attention, they were excited about it. I’d say, the age for me was the toughest part. We worked with some kids that were as young as nine, and I’m used to working with kids who are older than that. It was harder to do what I normally do--and I had to on the spot change my approach--but only because of their age, not because they were Israeli or Palestinian.
Jasmine:One of the things that struck us the most was that they had all of the same kid mannerisms as anywhere. Kids are kids no matter where they are from, but sometimes we did experience a language barrier.
Watch Words to the World: The Making of a Mural,a short documentary about the Israel youth project:
How did the Israel project fit into the natural scope of your work?
Jasmine: I feel that this fits into the evolution of our careers that will include more philanthropic causes, including service as part of our common work.
Bisc: I think it’s important to work with young people. I’ve been doing that for a long time. I have definitely been fortunate enough to give back through my work, and I’m sure that’s not going to stop, but I really want to work with all ages sharing these skills and crafts.
I believe that hip-hop is great at breaking boundaries and uniting different ages and cultures, and bring them under one umbrella. Who knows?--Those kids could form an Arab-Jewish collaborative rap group, or slowly make their way to create change through the continuation of hip-hop--which is about unification.
To flip the script and talk about your working relationship, what other major work have you two collaborated on?
Bisc:Jasmine hasbeen working on these shorts, and she’s been letting me help her assist direct, and do a lot of different stuff on that. I started working with her on her films, and I would score her movies. Then we did a project where it was my music, and she shot me a music video. This is the first time that we’ve travelled overseas and created a documentary piece. Definitely it’s just the first one. We’re both kind of hyped on doing more of it, and it’s a great opportunity for dope co-created projects. We’ve been doing that since day one.
How do you guys keep inspired and sustain your rhythm for creating, individually or in a partnership?
Jasmine: I think as an artist, you are inspired daily. It can be something as simple as someone crossing the street, that you just want to explore and dig deeper, whether it's in film or writing, or painting. I think my rhythm is just everyday life, allowing myself to be inspired to make something. And this guy here is super creative and multi-talented, so naturally in conversation, we’ll be listening to the same thing, and talking about it, and then we create something.
Bisc:We think on the same wavelength. I mean, we’ll both look at the same thing and say “that’s dope." For me, because I always work alone, we’ve had some struggles with Jasmine giving me real criticism and feedback, but it’s a lot of growing and a lot of learning. It’s working in a way that it’s only going to be iller. I think we push each other. I think that where I fall short, she steps in and makes it better. I think we really do fill in the space for each other where we aren’t as strong. It’s done very effortlessly. Say I’m writing something for a client--I’m not the best writer--I ask her, and she will change my perspective and make me better. Boom!
Jasmine: And I’m not the best talker [laughs].
Bisc:You’ll see that I like talking a lot, so I’ll talk for her. It works like that. It’s something creative where we both do for each other. Like when we are directing partners in film; I talk for her, I don’t mind talking where I’m telling people what to do or where to fall on set, and she’s the eye, and together we create a really good overall holistic and creative person. One more thing to add to are both of our goals. Right now I don’t have an ultimate goal, or there's absence of an overall goal. That’s something that I am struggling with in the present--not struggling with--but I think creatively, it’s something that I have to work towards because I have to see it in order to get there. She’s been helping me a lot with visualizing that imagery.
Did Israel fulfill any long standing goals that you had for your careers?
Jasmine: In terms of traveling, I’ve always traveled and brought a camera and took to photographs, but now that I’m studying film, it was an opportunity to evolve my skills and try to do film, creating what is going to be a miniature documentary. I was trying to capture moments. It’s very different than just taking a photo. You’re capturing an elongated period of time. It was a really interesting experience.
Bisc: For me, I can’t specifically answer that. I don’t know. It’s weird for me to say it, but I don’t really know what I’m doing. I don’t really have a "thing." I just kind of take the art as it comes, and this just came to me. I just feel like I was fortunate to get the opportunity and I mean--I paint walls, and I come from that world for more than half of my life. I’ve been involved in that culture for a long time. It’s definitely a continuation of what I come from--the root to my art and creativity. It was also a continuation of being Jewish and coming from that as a whole. Looking forward, I have no idea what it will lead me to. I’m going to quote Steve Jobs and say, "you can’t connect the dots going forward." Right now, I just don’t know.
On the surface it looks like you guys are living the dream. In your day-to-day reality, are there ever times where being in a creative profession is exhausting or unproductive?
Jasmine: I definitely have creative blocks. For me, I have to force myself to sit there and work through it. Editing for me is really hard. I kind of have to just sit there and force myself to do it. It makes it easier to think in terms of projects. I try to do one project at a time.
Bisc: I don’t know man, for me, I just work. Somedays like today I didn’t do shit. I sat at this desk all day and I organized files. I did bullshit all day. Because I’m in a creative block right now…I don’t know, I guess it comes and goes, at the end I just have faith that everything comes my way, and I’ll make art and I’ll make money. There’s a lot of shit that I want to do. If I write it all out, like I did recently, it becomes overwhelming. I mean, our day-to-day, it’s pretty normal. We don’t stay up until the morning doing art and smoking weed and shit. I feel like I’m getting old, and I’m trying to be healthy. I’m just going to the gym and trying to eat well. It’s a balance between professionalism and artistry, business and personal, love and relationships, and regular life stuff too...
Interview by Boyuan Gao
Photography and video by Jasmine Hemery
Check out Bisco's creative agency Daylight Curfew Creative, a creative agency that specializes in design, apparel, identity, instillation, web, video, and audio.
Eating great food and taking in great art while simultaneously making friends around the world sounds like what I want to be when I grow up. A friend of mine introduced me to Slideluck by describing it as "an art show…local photographers present their work on a big slideshow and everyone brings a dish to share...like a potluck dinner. They do it all around the world. Tonight it's in Brooklyn. Want to come?” I agreed, envisioning some store brought hummus laid out on a table next to a few lone photographs in someone's dank apartment. I was wrong. The Brooklyn Bridge provided the perfect backdrop to an open air warehouse in Dumbo filled with people, an abundance of food, and a large screen. In fact, that particular event won a place in the 2010 Guinness Book of World Records for the largest potluck ever thrown (479 dishes - dayum!).Inspired by his love for food, traveling and art, New York City resident and photographer Casey Kelbaugh, created Slideluck twelve years ago out of the DIY ethos of Seattle, Washington. Shaped out of a desire to build community and provide an artistic outlet for local photographers, Slideshow has evolved into a non-profit organization which produces international events centered around art and food. Kelbaugh and his team have traveled around the world; producing events in cities as diverse as Amsterdam, Netherlands, to Nairobi, Kenya, as well as various cities within the US. In addition to producing events, the organization created a youth initiative to empower young people through photography as well as a green initiative, which focuses on making their events as close to zero waste as possible. Project Inkblot spoke with Casey about his love for traveling, the occasional exclusionary world of photography, and why there will probably not be a Slideluck in Dubai anytime soon.
When did you first develop a love for traveling?
Before I was doing Slideluck and before I was even a photographer, I was really into travel. I studied abroad in Florence, Italy, and I ended up living with two Italian architecture students who were about 6 yrs older than me. I was 19 at the time. They had dinner parties almost every night and they taught me how to cook. I learned the power of bringing people together around food. There was jazz and food and wine and really interesting people coming together on a nightly basis. That started for me the love of travel and the love of cooking, and the idea that food could be this catalyst for bringing people together.
Is that where you became interested in photography, as well?
…I became interested in photography when I was traveling in Tokyo…I heard about a photo workshop; so I went to it and I thought, wow this is amazing. It’s immediate, you’re engaged, you can help create the moment, and it’s interactive...I spent a year there trying to learn the craft. I had plans to continue to travel around the world and then in one week, my camera was stolen, I ran out of money, and I got malaria, and I was like 'ok, time to go home to Seattle and re-group'…around 1999 I was starting my own career and that’s when I started to get frustrated by the lack of outlets to show my work.
Because you felt the photography world was exclusionary?
There are a lot of different photo worlds; the editorial world, shooting for magazines, there’s the commercial world, the fine art world, and there are very steep pyramids where there is no access…especially when you’re starting out. It’s like, ‘ok one day I’ll show at this gallery’ but how do I talk to people now and get feedback and show my work? So I created Slideluck in my tiny backyard in Seattle. About 50 people showed up and everyone was really jazzed and we had an old photo projector and some music. It went really well and people were like, ‘when’s the next one?’
Lots of people, when they are creating something with momentum, speak of that moment where they know they’re on to something big. Did you feel that way?
I felt a little bit of that leading up to it, but I had no idea I’d move to New York. I was thinking of doing something fun that allowed me to take control and do something for the people, not waiting for it to happen. There was a very amazing DIY spirit in the art community in Seattle and I think Slideluck grew out of that. It grew very slowly and organically and in three years we did 20 shows in Seattle. No press, no big nothing. It was all very underground.
I moved to NY for my photo career. Slideluck was a hobby. I got here and I felt that same kind of void but I thought, 'no one in New York is going to want to do a potluck dinner'...but we decided to do the first one in my apartment, and it was packed.
How many people showed up?
About 150 people, which was bigger than the biggest show we had had in Seattle. People were hungry for this kind of authentic engagement and for the opportunity to show their work and get feedback, and the content was very good. We were like, we’re definitely doing it again but we need a bigger place. We found a studio in Soho and it was a really beautiful space that was twice as big and twice as exciting…the energy was electric.
In New York everything is very established and there’s a lot of commerce involved with the art world especially. Slideluck was always meant to be divorced from commerce - very much a celebration of art and creativity and community. I tried very hard to keep money out of it completely for a very long time but it just got to the point where we had to cover costs. I wanted it to be like, your potluck dish is your ticket.
What do you think people were so excited about?
It all goes back to authenticity for me. You don’t just buy a ticket. You’re actually getting your hands dirty and making something you care about or making a family recipe and that makes you a bit more invested. So everyone is helping to build and create the night. And every night is unique because it’s always in a different location, the people are different, the theme is different, the food is different so every event is bound by this common structure…yet we’ve managed to maintain that backyard potluck vibe. It hasn’t taken on the art world pretension. It’s always been really warm and friendly.
Being able to travel through Slideluck must be a dream.
Yeah, I would say that. It’s different than backpacking. Backpacking is a fantastic way to get out and meet all of these interesting people but often you’re meeting people from all of these other countries and then you’re all on the outside looking in. The difference with this is that all of our growth has been by demand. So if a place like Tel Aviv or Bogota approaches us because they want to do a Slideluck, we build it together…it’s the most exciting way to travel because we go in and we’re building something that is totally new and everyone is so excited and we’re meeting all of these creative people. It’s not a one off - it becomes a part of the community. It’s been amazing. It’s changed my concept of what travel can be.
Have you found that certain cultures are more receptive or less receptive to the idea? Have you faced any obstacles in regards to that?
Well, in terms of reception, after every Slideluck someone will come up and say thank you so much we’ve never had something like this before and I guess you could say, that is the biggest reward. A Potluck is a Native American tradition – it’s called a “Potlatch” and it comes from the Seattle area actually, on the Northwest coast. The first year in Berlin this woman showed up with a head of lettuce and I’m like,' what’s this? And she’s like it’s a salad and I’m like, it’s not a salad, it’s a limp head of lettuce' [laughs]. Amsterdam was very interesting - we had a potluck curator and everyone arrived with dishes and everything was laid out so beautifully…I was talking to people and I was like, ‘do you all do a lot of potlucks?’ and they’re like ‘we’ve never heard of it [until now]' and they totally communicated what it was about but it was a brand new experience for everyone in the room, so that was interesting.
Then there was the Middle East; my dad lived in Dubai for a couple of years and I tried to have a Slideluck there and it’s just not going to happen.
Because, traditionally, [in many Middle Eastern cultures] when you host people you spend your last dime so that there is so much food that no one in a million years would ever be able to finish it, but to ask people to bring something is almost offensive. To say 'ok, come over but you have to bring stuff as well'…it just doesn’t fly.
Is that what you envision? A Slideluck in every city in the world?
I’d love to see it spread that way…we haven’t been able to accommodate it in that way. We’d love for it to be de-centralized so that more people are a part of it. We’re re-launching our website so that each city can have their own page. It will be a lot more accessible and easier to control.
What have you learned from the process of creating this organization?
I think I had a tough time committing to what type of medium I wanted to work in, then what type of photographer I wanted to be, then whether I could stay in one place. This project has taught me that with commitment, comes great reward. I have made this project a priority for 12 years. Had I continued to bounce around, dabbling here and there, I don’t think I would have been able to make the impact Slideluck has made. I learned that nothing worthwhile comes easy. There have been some very tough moments in this process – financially, emotionally, creatively – but throwing in the towel has never been an option. I think the longer I stuck with it, the more crystallized this feeling was.
The other thing I have learned is that people are willing to go to great lengths for something they believe in. At this particular moment, there are teams of individuals volunteering their time and resources to make Slidelucks happen in San Francisco, London, Bogotá, Dallas, Atlanta, Tel Aviv, Amsterdam and Washington, DC. All of whom are doing this on their own volition and because they want to make their community a better place. The mere fact that this is happening blows my mind.
What were some of your favorite Slidelucks?
That’s hard. Nairobi was way up there…400 people showed up, beautiful weather. It was a really mixed, interesting crowd…the work was all local and we even had some paintings so we had a really older generation as well as young people. Panama City was also amazing, we were in the ruins of a 400 year-old church and it was in the old part of town and we were bbq’ing and we had a really packed house and great vibe. [Our] second show in Baltimore was phenomenal. We got this funky space and we had a really beautiful photo exhibition. There was a live Delta blues band afterwards, there was a bonfire. The work was great, the food was great. Someone set off 17,000 firecrackers. And then there was the director of the Baltimore Museum of Art also hanging out so it was a good mix.
To view photos from Slideluck Nairobi, click here.
It must be great to attract such a wide range of people who otherwise might not mix.
Oh yeah, totally. War photographers and fashion photographers…these people do not hang out. It’s a very mixed group…it just gets boring when it’s the same people. We did one in Toronto where we had really important curators who picked really important photographers. We didn’t do an open call due to a timing thing and it was the most boring show we’ve ever had. It was so predictable. Everyone had already worked together and it didn’t have that random element of chance and that excitement of opportunity.
Would you say that random aspect is what makes the events so good?
Yeah, I mean we’ll never do that again. There has to be an element of an open call. Sure, the curator can pick some of the artists but there has to be an opportunity for anyone to come out of the woodwork.
What do you want people to walk away with after a Slideluck event?
I want people to feel engaged and inspired and I think that’s a lot of what happens. People are energized. They walk away like, 'holy shit'. The events are very educational. You learn a lot about a lot of little worlds and what’s going on in the world during the show. So I think if people walk away feeling more grounded in their community and more connected, if they feel inspired creatively and intellectually, and if they’ve made new friends, then that’s the goal.
For more information on Casey Kelbaugh, click here.
For more information on Slideluck, click here.
Words by Jahan Mantin
Photo credit: Slideluck Potshow
Have you heard of Nomadness? Well if you haven't, you most definitely will soon. My boy brought Evita Robinson over to my place for a heated game night one evening over a year ago. He insisted adamantly that I talk to this woman, and upon officially meeting her over an impassioned game of Taboo, I totally got it. Evie Robbie, as her friends call her, is a goddess of world travel. In 2010 she created a travel web series, and by 2013 (at press time), she clocks in over 4000 members in her closed international travel group Nomadness Travel Tribe--a Facebook based online community for travel enthusiasts like us--and by "us" I mean the culture-curious, young adventurers who prefer off-the-beaten-path travel over big resorts. The biggest perk of being invited as a member to the Tribe is that you get dibs on the amazing trip packages that Evie organizes for the travel group to amazing destinations around the world. There is a very special bond that Tribe members get to experience when they are journeying together to foreign destinations. If you are about that life, check them out. This is a woman who walks the way she talks. By the time of this interview, she had been featured in Ebony and Clutch Magazine for Nomadness. It's near impossible NOT to believe her because her work is a reflection of her greatest passion, her truest higher self, and satisfies a huge void in the international travel community. All of that in mind, I couldn't bear to dwindle down this awesome interview because of the great take-aways that NEED to be shared. Here I've broken it into two pieces--1) the Feature Interview below and 2) a Creative Resource piece, for budding entrepreneurs who can gain from Evie's dope advice. I promise, you won't want to miss it.
How did you come up with the idea for NomadnessTV, the web series?
I was out in Japan for a year. I had a year teaching contract out there, and ten months into teaching and seeing that no one from home was going to come out and visit me, I was like, "I get it.” It's a hella long flight and extremely expensive place to come visit. I then thought, I need to bring Japan to them, and decided the easiest way to do that was social media. It was cool to be able to share my experiences with friends and family, and let my mom know that I was alive. After a while of cutting little vignettes of my travel experiences, I started to touch into my actual network of people that I knew who worked in TV and media to pick their brains.
I realized when I was out there in Japan, before moving to Thailand for a little bit, there was no travel group or organization that I felt like I wanted to be part of. I thought they were dry and boring, and didn't feel like there were a lot of groups that I could relate to. There was nothing for any type of crowd that I came from, or anybody who looked like me. That was the same paradox that I was finding when I was traveling. As I was backpacking by myself, there weren't that many people of color out there. There were a lot of women traveling by themselves, which was interesting to me, because there are so many stigmas and preconceived fears of what it's like to be a woman out there traveling alone, especially backpacking. I was learning a lot of new dynamic. Travel was something that I was interested in, but I didn't know that my entire career/life/business was going to soon be worked around it.
How did The Travel Tribe form?
I stay coming up with these crazy ideas. One day I was like, I can't find the community that I want to identify with, so I'm going to create it. I graduated in 2006, and when everybody else was looking for a job, I left. I moved to Paris, and I stayed half a summer with one of my best friends from high school. I did a filmmaking workshop with the New York Film Academy. It was really on that trip that I realized that the travel bug was in me. It bit me and lodged itself under my skin. I made a promise to myself to bridge travel with my love for TV, mass media, and my love for talking. I've always had a big mouth and an opinion to follow it. I wanted to bring those things together naturally.
The first NomadnessTV web episode aired online on February 26th 2010. I did not launch the Nomadness Travel Tribe until September 28, 2011. There was a nice buffer of time between the two, for me to think of the idea of creating a community. In the beginning, Nomadness was very me, me, me! It was very Evita oriented, which also stems from the fact of me always wanting my own travel show. Soon after, creating a community for other people became very important because it wasn't just about me, but it was about exploring the a bigger dialogue with people.
You earlier stated that other travel communities represented in the media don’t represent people like you. How would you go about defining who you are?
I was born in Albany. I Left there shortly after my parents split. I grew up in Poughkeepskie, New York, and I went to Iona college in New Rochelle. Right after graduating I dipped to Paris. I've been a Bronx resident for the last five or six years very intermittently between international travel, where I've been gone from a number of months to a year or more in a chunk of time. I've always come back to The Bronx. There's just an urban appeal that I always love. I'm apart of the hip-hop generation. I wanted to create something for people like me. I couldn't find anything that I felt was really gauging or effectively hitting that community and representing it well.
I'm educated. A lot of the people that I roll with are educated people. It's not hip-hop in the sense of your pants sagging, and you have no form of higher education. I want to represent hip-hop in a positive light. I didn't want to create "the black travel group." I tell people that all the time, and I stick by that. If anything, it's about people with an urban appeal, because I lived in Japan for a year, and I can show you urban that is very much not black. For the sake of media and a lot of entities, it all kind of gets clumped together, and I want to show that there is room for it all. There is differentiation, and there is a bigger umbrella, and I never want to pigeonhole myself. I think the demographic that we attract is natural, but I'm not trying to keep anyone out on a diversity realm. I feel like there is stuff that a lot of people from different walks of life can take from it.
Check out all of the episodes of NomadnessTV.
What is the number one factor that makes you interested in exploring different cultures?
It started right after I graduated from college. I am the only person in my family that does what I do. Most of my life I existed in a single parent household—just me, my mother, and my brother. We're not that close with my mother's side of the family, but we forged relationships with them as we got older. My grandmother is white and Western European on that side--I think mostly Irish, Italian, and Dutch. My mother's maiden name is German. My father's side of the family is African American, but there's a lot of Native American on both sides, and I just found out within the last 12 months that my grandma's last name is French, and we also have Indian in us too. I think that breeds a little--at least subconsciously--into why I'm so curious. It's a child-like quality that's never left. That fuels a lot of me wanting to see new places.
How were you bit by the travel bug?
I went to a very affluent, very Caucasian school. I used to go to house parties and my very affluent friends would talk about how they spent the summer in Spain or Italy studying abroad, and things like that. I remember one day, I had had it. I made this silent promise to myself, and I said, "One day I'm going to be able to participate in these conversations. I don't know when. I don't know why, but I feel like I'm missing out on something." It's always funny now, because when I see those same people, they don't even want to talk about travel around me anymore. My stories blow them out of the water [laughter]. It's the little things that become your motivations.
How did your membership spread so fast and far?
I remember having conversations with one of my best friends who's in the Tribe, Stephanie O'Connor, I said, "I started this website, I want to create a social network. It's going to be like Facebook, but it's for travelers. She reminded me that, "It's just you." Again, I think grandiose. She told me, “Maybe you just want to start it as a Facebook group.” I hated Facebook groups. I only really pay attention to about four or five that I'm in. My whole thing was, I don't want just anybody in it. There's got to be some sense of exclusivity to it. That's where the whole idea of our members needing to get at least one passport stamp to even get in the group came about. We want the members to already understand the importance in it once they're invited, so they'll value it.
The Tribe started with a friend telling me that I was getting a little bit ahead of myself and to scale back a little. It ended up being a great resource, especially because my network through the web series was already fostered on Facebook.
How many countries are you represented in now?
At this point, we're approaching three dozen countries with people who are either from there, or are ex-pats and live there now. We have a huge saturation in the United States, which is probably our majority, but we have a number of people in UK, France, South Korea, Japan, and Brazil is one of our biggest hubs.
When I first met you, you invited me to a Tribe Meetup, and it was huge! Is that happening all over the world?
All over the world on a weekly basis. About four or five months ago, I was talking to the High Counsel, and we projected that it was going to get to a point where there's going to be something going on with the Tribe every single week. It's been like that for almost the last two months now. Literally there is something going on somewhere in the world at least once a week. I give them the freedom to create Meetups that are not micromanaged. There is usually a person in the region who wants to be the organizer. I think giving them that freedom, they cherish it and they really respect the movement, so they represent well.
What is it that you hope for Nomadness in 5 years?
I want Nomadness--this is going to happen this year actually--we have to get off of Facebook. The investor money and what I’m going for right now is twofold for 2013: to get us off of Facebook and into our own online entity that we are building right now, and for myself and high counsel and anyone else that comes on staff to be able to get paid for it so we’re living off of it, and it’s turning a profit. Another goal is to have the Nomadness merchandise in stores. I would love an H&M or Uniqlo placement. That’s a big thing for me, as well as television. Like I said, the Tribe is for everyone. The TV thing is a very personal goal for me, and something that I have been fighting for longer than any other aspect of Nomadness, and we’ve made some amazing headway in these first eight weeks of this year. I think we are going to have all of it by next year. I feel that 2013 is the year that Nomadness is going to blow up. I don’t want anybody ever to be able to think of travel and not think of Nomadness. Literally, we are going to flip this travel industry on its head. That’s what I’ve always wanted. It’s young and innovative. When I say young--I don’t even mean solely age. I mean energy. There’s just a youthfulness to these people regardless of age. It's the appeal of this location independent lifestyle, and people really taking back their lives.
I signed up for a lot of things with Nomadness, but what I didn’t sign up for was how many people in the course of a year put posts up talking about how inspired they are with the story that they’ve quit their 9-5 jobs and moved abroad. I’m like, I didn’t sign up for that. It’s one of those really cool side effects and I think it’s only going to get bigger, and it’s only going to get more inspiring and more powerful. I think going into 2013, we’re going to have more control, and we’re going to be in more places. That’s the goal well before 2015.
Wow. I totally believe you.
Interview by Boyuan Gao
Photos courtesy of Evita Robinson
Check out Part II, The Unyielding Pursuit of a Travel Entrepreneur--Lessons From Evie Robie in Creative Resources.