I Love Sticks

The Father's Day shillelagh

It’s true.  I love them.

The foreign objects that the first tool users likely bashed each others brains out with were undoubtedly sticks and stones – and regardless of which was the first to break bones, sticks remain a viable option even today.

Forget cheap – sticks are free, and they grow, or can be found, damn near everywhere.  There are no laws against bringing sticks into any establishment so long as you can justify a use for them other than as potential weapons.  Depending on your age and physical state, few people question a walking stick or wooden cane.  Here in the South, a cop won’t bat an eyelash at a “tire thumper” behind the front seat of a vehicle (but he might question it if it’s hanging from your belt – use discretion).  On the other hand, you can look around you in almost any setting and find readily available sticks employed in a variety of ways that can easily and quickly be repurposed as expedient weapons: mops, brooms, plungers, pool sticks, sign posts, chair and table legs, dowels, and even natural limbs and sticks either still attached to their parent plant or not.

On their own, almost any stick can used as a blunt force weapon,

O'Bollocks the Cudgellelagh

either used two handed as a blunt spear if long, swung like a bat if medium sized, or wielded one-handed like a shillelagh if short.  Some sticks have convenient pointy-stabby ends for even more versatile use.  If your long stick breaks, it becomes two shorter sticks… possibly even with somewhat pointy-stabby ends.  If it gets too short to swing effectively, it can still be used as a yawara-style impact weapon.  How convenient.

I mentioned in an earlier post that my father instilled in me the value of a good stick, and when he’d take my brothers and I camping or hiking in the woods, the first priority was to acquire good “whappin’ sticks”… err, walking sticks.

When my cousin Chris and I came upon a water moccasin while walking when we were only 6, Chris knocked it silly with a walking stick, allowing me to get in and stomp its head into the dirt before decapitating it with a cheap, carnival knockoff of a fairbairn-sykes fighting knife.

In college, a new girlfriend and I went camping with some friends next to a lake.  I woke up earlier than everyone else and saw catfish feeding at the bank.  I picked up a long, thin stick, sharpened a point on one end with my pocket knife, and easily speared one in shallow water and carried it back to camp.  I’m pretty sure that it impressed her more than anything else I’d done up to that point.

Bodark Root shillelagh

As a kid, the first two weapons I made with my own tiny hands were a bo and a pair of nunchaku – because, like most male children of the 80s, I was obsessed with the Ninja Turtles (Col. Dad helped with the chucks).  The bo was an old shop broom stick with short sections of steel pipe screwed onto the threaded ends for weight.  The chucks were cut from an old shovel handle and joined with scrap handcuff chain from my grandpa’s garage.  I’d literally spend hours marching around the backyard taking on hordes of invisible foes with my wooden weapons.  Some people question why my dad would’ve started me with wooden chucks instead of foam, but honestly, I only ever hit myself with once.  After that, I respected them, and I learned slowly and responsibly.  Weapons don’t need training wheels – they need respect.

If you’ve read many of my posts, you know that I like to arm my

Another view of the Bodark Root shillelagh

family and friends so I won’t feel so obligated to rescue them all after the inevitable zombie apocalypse.  I usually end up passing on old or inexpensive weapons, restoring old weapons, or building homemade weapons.  As often as I can afford it or an opportunity arises, I give them firearms (almost anyone can afford a Mosin Nagant), but by far the most frequent gifts I impart are machetes and sticks.  In the last month alone I’ve probably made and given out five shillelaghs.  I don’t always take pictures and post them because they’re not always remarkable.  My process for preparing and hardening my shillelaghs can be found in my O’Bollocks the Cudgellelagh article.  It’s easy, cheap, and far less time consuming than the traditional Irish method of slathering the weapon in butter and sticking it up inside the chimney to harden via smoke and heat for months.

If you don’t have access to a propane torch, you can harden the wood (giggity)  more slowly over any fire you like, from a campfire to an alcohol or propane stove – probably even a charcoal grill if you’re careful, though my only attempt at this lead to me splitting the shillelagh irreparably due to the extreme high heat.  Any sustained source of high heat will work, but be sure to go slowly, as stated in my other article, so as not to overheat and split or crack the wood.

For this reason, adequate oiling is very important.  Again, the kind of oil you use is far less important than the fact that you’re using it at all.  I’ve used orange, lemon, and even olive oil.  You can probably use vegetable oil or motor oil, though I’ve never tried it myself.  The Irish used butter and a friend of mine once successfully used bacon grease.   Just experiment and have fun – the worst case scenario is that you ruin a stick… so what.  Go get another one.  In the backyard.  For free.

When I wanna get really fancy, I wrap the handles in leather twine or paracord and draw designs up and down the shaft with a wood-burning tool (glorified soldering iron).

Making walking sticks and shillelaghs is not only a financially responsible, environmentally friendly, and low risk crafting hobby, but it’s also damn EASY.  Pretty much anyone, of any age within reason, can pick up a stick and saw it to length, whittle the bark off of it, rub it with oil, and heat temper it.  If you can’t saw, then find one already the right size.  If you can’t whittle, then leave the bark on.  If you can’t heat temper, then leave the stick as is.  Despite the improvements one can make, none of them are necessary for the stick to be damn effective in whatever role you choose to employ it.  Any complete failures can be tossed right back out into the yard or burned in the fireplace without a second thought.

I love sticks, wastelanders… and so should you.

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Revenge of the Door Boxes

Time for Round 2 (see my previous door boxes here).

In my first post, I mentioned that I was given a “metric shit ton” of cigar boxes by “The Cigar Box” in Broken Arrow in exchange for some of my work – this post chronicles the door boxes I made out of them.  Cigar boxes are a bit more difficult, because they’re generally too shallow to make shelves deep enough for wallets, cell phones, and other pocket cargo.  I’ve been working with Savage Gallery lately, and Ariana, the director, suggested  I market them as jewelry boxes.  As foreign as that idea is to me – a man whose jewelry stops at a wristwatch – I couldn’t deny that her logic was sound.  Thus, I put Ariana in charge of marketing and selling these boxes for me.  If you’re interested in anything you see, you can contact Ariana at savagetulsa@gmail.com to purchase it.

I wanted this one to appear to be hanging slanted on the wall when closed

when open, however, the shelves are perfectly horizontel. The little three sided cubby in the lower left corner of the lid is designed to hold onto its contents when the lid is closed and inverted.

I loved the outside of this box

the inside, however, was too shallow for any shelves, so I doubled up on the hooks

This one has a really nice old brass drawer pull and a coat hook

the inside had some nice shelves and felt lining - classic

I salvaged this awesome knob from an antique credenza that my friend was restoring

this one was actually deep enough for functional shelves - wallet friendly

the picture of this box's front didn't come out, but the shelves are staggered and there's a nice little matchbook/lighter caddy on the inside of the lid

This one is covered in real white rabbit's fur, but the real surprise is inside...

yes... you're opening an animal carcass

Spine, ribs, heart shaped box, and you can see out through the eyes and nostrils

Here you can see the pelvis, the inside of the heart-box, and notice you can see a pastoral scene out through the eyes

The next box isn’t for sale, as I made it for MC Scoot – Legend of the 918, but I still wanted to show it off.  This one was made from a photo box – a box already covered in leather with a glass window for displaying a photo.

the mushroom drawer pull is one of my favorite details

Here it is in use

a place for everything and everything in its place

Thanks alot, wastelanders!  Remember, contact Savage Gallery if you want to purchase any of these.  Otherwise, go make you’re own… they’re ridiculously easy to make, and I have faith that you can make one even cooler than any of mine.  Good luck, wastelanders!

 

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O’Bollocks the Cudgellelagh

Yes, another one (See my previous shillelagh posts here and here).

A friend of mine recently showed up at my house with all the trimmings from the large tree in his yard.  ”I figured you could make something outta this,” he said.  My reputation precedes me.  I spent the next month making two walking sticks and three more shillelaghs.  One of the trimmings he brought me had a large knot on one end, so I decided to make myself a cudgel out of it.  I’m not sure what the official definitions are, if there are any, but I consider any short stick intended for beating another animal to be a club.  If you harden it, it becomes a shillelagh.  If it has a nice big weighted end, it’s a cudgel.  Again, these are just my own personal designations.  Therefore, my newest project could be considered a cudgellelagh.

I have the same process for making walking sticks and shillelaghs, which I’ve detailed in previous posts, but which I’ll summarize again here.  I start off by taking the wood as close to the ground as possible, or as close to the knot where two limbs branch out from one another. This wood is often the hardest.  I shave the bark and sand the wood smooth, and then leave the wood out to dry for a few days.  Once dry, I begin slathering the wood in natural oil (orange, olive or lemon).  Once the wood is sufficiently oil-infused (which adds flexibility and longevity), I blast it with a propane torch until the entire outside surface is black.

Take your time with this process, moving the flame around and giving the wood time to cool if it gets too hot to hold with your bare hand.  If you heat the wood too quickly it can crack or split, and then you’ve wasted all your effort.  This heat treatment hardens the wood to an amazing degree, and also seals the surface making it moisture and damage resistant.  Once cool, I sand the black off the surface with fine sandpaper or a dish scrubber until I begin to see the wood grain again.  The wood now has a very dark, very rich appearance, and feels as smooth as glass.  At this point, you can either coat it with lacquer or oil, and if it’s a walking stick, seal the business end with epoxy.

Here are some pictures of O’Bollocks:

Why did I name it O’Bollocks?  Because it’s the second to last thing that will go through my intended target’s mind, assuming zombies can think at all.  The last thing?  A cudgellelagh.

Go harvest and harden some beatin’ sticks, wastelanders!

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Musical Instrument Lamps

When I look at things now, I tend to simplify them – I break them down into their components and try to analyze the processes necessary to join those components into whatever final product I’m looking at.  I found a “lamp kit” at Lowe’s a year or so ago and started making wine bottle and liquor bottle lamps for my friends, and I realized that lamps are actually very simple to make.

One night, a friend of mine asked if I’d ever tried making lamps out of anything else, and the truth was that it hadn’t even crossed my mind, but once I thought about it, I realized that all a lamp is is something upon which a light bulb is mounted.  As far as I know, a lamp needs to accept a bulb, provide a mechanism for turning that bulb on and off, preferably conceal the cord necessary to plug the bulb socket into a power source, and support a lamp shade.  Since the cord connects directly to the bulb socket and the shade mounts either directly to the bulb or on the “harp“, which itself connects to the bulb socket, the actual body of the lamp can be damn near anything!

My friend offered to pay me $20 to convert her old trumpet into a lamp, and I accepted the challenge.  It turns out that musical instruments, and wind instruments in particular, are perfectly suited to making lamps.  The hollow interior of the instruments provides a perfect channel through which to run the cord, the mouthpiece is a perfect place to mount the bulb socket and the business end (I believe they call it a “bell” in the case of the trumpet) is broad enough to provide a stable base for the finished lamp.

Here’s the finished product:

 

The response I got to this lamp from my friends and family was so overwhelmingly positive that I decided to make a series.  My next attempt was a ukulele.  Since the ukulele is enclosed, I had to go about it a bit differently.  Colonel Dad and I drilled a hole through the entire body of the ukulele, starting just behind where the neck joins to the body.  We ran a piece of all-thread through the hole and along the back of the neck.  We attached it to the backside of the neck with small brass brackets and tiny screws.  We mounted the bulb socket to the top of this all-thread and ran the cord down through it.  We mounted the bottom end of the all-thread into a solid block of wood which provided the stable, weighted base to help the ukulele stand upright under the weight of the bulb socket and shade, and ran the cord out through the back of the base.

 

The ukulele lamp is currently on sale at Savage Art Gallery in Tulsa (contact Ariana at savagetulsa@gmail.com if you’re interested). I’m currently working on converting an old silver clarinet.  I’ll update this post with pictures of it when I’m done.

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Max & Vic # 4

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Music Review: M. Ward, ‘A Wasteland Companion’

When a friend initially pointed me to this album, posted in its entirety on NPR Music, I had no idea what to expect.  However, before even pressing play, I was operating under three powerful pretenses: 1. I trust this particular friend’s taste in music, so I’m fairly certain I’m going to enjoy this – whatever it is.  2. This friend specifically suggested I review this album for my website, and this friend KNOWS what my website is, so I can assume that, if they’ve listened to it, it must be at least somewhat related to the theme of my site.  3. The title is ‘A Wasteland Companion’, further reinforcing pretense #2.  Regarding the title, I was thinking it might refer to one of two things: the fact that the album itself is the wasteland companion, intended to be played by wanderers, scavengers, raiders, and other such wasteland riff raff, or that the album might be referring to a more traditional wasteland companion.

Charon - the greatest wasteland companion

Clean Slate – This song is peaceful… positive. I have absolutely no previous knowledge or exposure to M. Ward, but his voice is clean, pure and honest.  I hear the pick scraping twangy strings.  There is a slight echo.  This feels intimate.  The lyrics seems to suggest a loss, and a new awakening.

Primitive Girl – this is more upbeat, and describes a natural girl who the speaker clearly admires.  The piano is peppy and light.  I’m honestly not sure what any of this has to do with a wasteland.  I’m beginning to think I’ve been duped.  Perhaps his wasteland is metaphorical and/or emotional.  The lyrics now reveal that this girl has dumped him.  Why the hell are you so upbeat about being dumped?

Me and My Shadow – The recording of this track is interesting.  It’s as if I’m listening to it play through the speakers of some distant car stereo, echoing off of sleeping concrete and down empty streets, calling me through the darkness like a candle in a window.  The acoustic guitar, in contrast, is walking right next to me, keeping me company.  The drums show up, and they’re anxious.  What’s up, drums?  What’s wrong?  Electric Guitar shows up – this guitar is sinister.  Drums take off!  Electric Guitar takes off after him!  Electric Guitar and Drums disappear into the darkness… and Acoustic Guitar and I are left to wonder what the fuck we just witnessed.

Sweetheart – This 50s-esque lovesong feels simultaneously classic and yet dark – a sock hop full of dancing zombies in letter jackets and poodle skirts.  I still have no idea what this album has to do with any wasteland, but Zooey Deschanel is here now, and I’m okay with that.

I Get Ideas – This track, like the rest of the album, is clearly a throwback – an homage to an earlier time and style.  Something about his vocals seems absent and relaxed… as if I’m watching him from a distance or listening to him from around a corner and through a door slightly ajar.  I like it.  The electric guitar and drums seem to have made up.  The drums sound like they’re on the other side of the wall, and the electric guitar is wrapped in tin foil and the amp is dusty and the cords need replaced.  The paint on the walls is flaking and the  lighting is bad.

The First Time I Ran Away – this song starts with warm, wet strings and an overall cozy instrumentation, but the vocals are still distant and dry.  Where is he?  I’m here with the instruments.  He must be calling over the walkie-talkie or playing through a radio on the AM band.  We’ve got tin foil and a wire hangar fastened to the antenna – it’ll have to work.

A Wasteland Companion – Finally!  The title track!  If ANY song has to do with the wasteland, this has got to be it, right?  Right off the bat, there’s a lonely acoustic being plucked and struck – a hollow, sorrowful sound.  Ward’s saran wrapped vocals come in, lower, slower, and slightly dirtier.  There’s a moment of quivering strings suddenly.  Anticipation that gives way to more warm string-plucking and the fading in of distant cheers… very distant, as if a distant memory, blending with the howling of an outside wind. It’s as if someone left an old TV on in another room and some flashback football game from the 70s is playing.  The lonely strings remind us of their presence, but only subtly.  A sad pipe organ… a dirge.

Watch The Show – we fade directly in.  This song is dark and galloping.  Ward is monotone and detached.  THIS sounds barren.  Ward is introducing a character with his words here, describing a character who has broken into the television broadcast to tell tales of, I expect, a sinister nature.  OH… he works there, as an editor.  He doesn’t sound too happy about it.  I can picture the drums frowning, wide-eyed, serious.  Every time I truly lose myself in Ward’s words, the greasy, tattooed electric guitar grabs my shoulder and reminds me not to get too comfortable here.  I don’t belong here.  When’s the last time they cleaned this floor?  It ends as suddenly as it began.

There’s a Key – juxtaposed with the last track, this one is again warm and safe.  Acoustic, my wasteland companion throughout this musical journey, is here again, and I feel safe with him.  Ward’s words are a poetry of sand – inorganic, but pleasant, yet difficult to grasp and squeeze in your hand.  It’s best to let the wind blow it about, and the waves carry it in and out.  Just watch and enjoy – don’t try to take any home with you.  I can picture him singing this, and every other song, with his eyes closed… supporting himself with one hand on the mic stand and the other in the pocket of his jeans.

Crawl After You – His voice is slightly closer now, and the piano is more complex and mature. There’s a droning note in the background I can’t identify.  Ah, it’s a violin… slow and wailing.  The room is beige, colored so by beige sunlight steaming in through opaque, dirty windows and dust hanging in the air, held aloft by Ward’s sustained notes.  There’s a flavor of Tom Waits here, for sure.  This is one of my favorite tracks thus far.

Wild Goose – there’s a distant fullness of sound in the background of the familiar acoustic guitar.  A steel guitar shows up to the party and really fills out the early instrumentation. Vocal harmonies reinforce the fullness of the track.  A rhythmic tap-tap-tap, and now the piano dancing with the steal guitar.  This track is so damn surreal, and positive – it feels like a dream.  It ended too soon.  I was really, really enjoying it.

Pure Joy – This still has hints of the previous track.  It’s definitely a close cousin.  He talking about seeing “her” again, and how happy he is now.  He spoke about how sad he once was.  I’m starting to see the underlying narrative here.  It all seems to revolve around this girl, his angel, his ‘wasteland companion’… the natural girl that once made him happy, then left him and left him in an emotional wasteland… now she’s back, and he’s overjoyed to see her again.  How appropriate.  She is, according to him, the oxygen filling up his lungs again.

In the end, I could look back and see the journey that we went on together.  I think I know now what Ward meant by “wasteland” and “companion”, and I think that I understand, in retrospect, the narrative thread.  Even if I have it completely wrong, and even if my stream-of-consciousness, imaginary stumbling waltz of a review missed the dartboard completely and broke the glass in the family portrait, I still very much enjoyed the trip… and in the end, isn’t that the point?

Yes, you should listen to this album, wastelanders.  In fact, listen to it with a companion.

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Where’s My Effin’ Corkscrew – Part 1

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The Key Flail

Phil Elmore has already done an article about key flailing, and isn’t a fan of the idea – citing the lack of actual damage that flailed keys inflict, and the danger of losing said keys, which are, by virtue of the fact that you carry them with you, important – both of these points are true.  Elmore instead suggests that, in the event that keys are used at all, they be used as penetrating weapons for soft targets on the face, such as the eyes.  Please read his article before drawing your own conclusions.

I respect Phil and consider him a friend and inspiration, but I disagree with the complete invalidity of the key flail as an improvised self defense tool… notice I don’t say “weapon”, because a weapon, by my unwritten definition, is something that can cause measurable damage in combat.  A person can theoretically attempt to use anything AS a weapon, but to BE a weapon (by my definition) that object must exhibit a degree of effectiveness in the role.

this is a shoelace, but it could just as easily be a headphone cord, some twine, or a freakin' balloon string. It is merely cordage that happens to be available.

A tool, on the other hand, is “anything used as a means of accomplishing a task or purpose” – therefore, not every tool is a weapon, but every weapon is a tool.  In regard to a key flail, while it may not be effective in its role as a weapon, it can certainly be effectively employed as a self-defense tool.  That is not to say that it can necessarily debilitate or nullify an attacker, but that it might deter them from their attack either long enough for the defender to escape or appear as a less-than-ideal target.

these are my keys, but they could be any other available weighted object

Obviously, using your keys as a flail is not an ideal option… not even a GOOD option, but given no other option, it remains AN OPTION.  For some, as is the case with any improvised weapon, you have to weigh the effectiveness of an improvised weapon (or self defense tool) with the inherent effectiveness of one’s own body, and the variables involved with the attacker and the nature of the attack.  For example – I’m a young, fit, 200 lb man with a long history of martial arts training and a damn good right cross.  If an unarmed attacker assaults me, it would be far more effective for me to drop an artillery shell on the side of their jaw than jingle-jangle my keys at them.  However, if they are armed with a short range weapon, such as a knife or club (and I am, for whatever reason, without my knife or pistol), I definitely don’t want to engage with them.  Instead, I want to create an opening to escape, if possible – if I am unable to escape, then I want to create an opening in which I can try to gain the advantage, either by disarming the assailant or dropping the previously mentioned five-knuckled artillery shell.  In that case, the surprise of me whipping out a shiny, jangly object on the end of a rope and smacking him as hard as I can across the face, or in the eyes, not only keeps me slightly further out of range, but also sets off all kinds of primal “WTF!?” fight-or-flight alarms in the reptilian portion of the would-be-attacker’s brain.

I'm using the weight of the keys to find the midpoint of the string

I could just as easily splash a drink in his face, throw my keys or something else in his face, or throw my wallet behind him.  However, as Phil states in his article, and I am paraphrasing, if my objective is to get to my car or my house, throwing my keys is a pretty bad idea.

You’ll notice that my idea of a key flail is an actual flail, and not simply keys-being-flailed.  Holding a key ring by an attached fob or stick is also silly, because it not only gives you minimally more range and centrifugal force (thus impact), but also makes your key ring far bulkier (and more impractical) during the 99.99% of the time you’ll be carrying it without having to use it as a self defense tool.  I’m a big believer in keeping your wallet and keys as minimalist as possible, but that’s another article for another day.

I'm tying a knot to keep the keys in the center of the string.

So, why the hell even bother with posting this concept of a key flail if you’re not going to carry it around 100% of the time?  Well, this is where we draw the line between improvised and expediently improvised weapons.  An expediently improvised weapon is something you grab and use in the heat of the moment with little to no preparation – a beer bottle, for example.  An improvised weapon is something that is simply improvised from your surroundings, without the same need for immediacy – a beer bottle filled with flammable liquid and topped with a rag to create an incendiary grenade, originally devised and used against tanks (molotov cocktail), for example.

I continue tying knots, reversing each time as if tying a series of "square knots" to shorten, thicken, and strengthen what will become the handle portion of the flail.

I travel armed with weapons – not self-defense tools, but weapons.  If I expect I might be somewhere where the likelihood of my getting attacked is greater, I might carry more or larger weapons (the .45 instead of the 9mm… or both).  However, not everyone is comfortable carrying weapons, and not everyone thinks about the potential dangers of the environments they’re likely to find themselves in.  Knowledge of expediently improvised and improvised weapons comes in handy when you suddenly look around and say “oh shit, I’m in danger (or possible danger) and am woefully unprepared for it”.   Perhaps you find yourself leaving the grocery store much later than you expected and realize you have to cross a dark parking lot alone.  In that case, you might ask the cashier to triple bag your can of peas all by its lonesome in plastic… and you’d carry that triple-plastic-bagged-can-o-peas-flail in your dominant hand just in case you had to crack someone upside the CPU with it.  Make sense?

one all the knots are tied, this flail has a faster, more manageable range

Not every idea I pose (or that anyone else poses elsewhere, for that matter) will be effective for everyone, or should be considered valuable or sensible by anyone.  You should pick the ones that sound good, test the one’s you’re not sure about, and ultimately train your brain to cultivate an “improvised weaponry” mindset.  Once you establish and develop this mindset, you can look through it like a lens to see the world a little differently.  You’ll begin to see a wooden chair as a sum of its individual parts – individual parts that could each be used as clubs or stabbing weapons.  You’ll see the mess of wires and cables behind your desk as potential flails, bindings, or choking/grappling weapons.  You’ll see your cup of pens and pencils as force-multiplier striking weapons and stabbing weapons.  The more you play with and practice this, the more autonomic it becomes, and thus the more likely you are to implement this knowledge when the time comes.

with the keys in my pocket and the handle left out for quick access, it appears a nothing more than a decorative pocket fob

Do I think you should take out your shoelace and make a key flail when you expect trouble?  Sure, if there is absolutely no other better option.  Do I think you’ll ever have to?  No, probably not.  Would it be effective?  Maybe – I certainly wouldn’t want to be hit in the face with it.  Is it good to start thinking about other objects in this way, as potential weapons and self-defense tools?  Abso-freakin-lutely.

here's one I made with some strange synthetic twine I found in the hallway of my office building

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The Door Box

Scavenging, crafting, re-purposing - these are all prime skills in the wastelander’s repertoire, and this particular craft will hone each of them. I got this idea years ago when my roommate at the time suffered from a debilitating handicap – she would lose her keys nearly every day.  Sometimes they’d be in the fridge or in the trash can, other times they’d be behind the TV or under the couch.  Finally, I went to my workshop with a mission – design a simple and practical solution with on-hand materials. I used a wooden liquor box and some scrap balsa wood and made her a wall mounted box with two shelves, a pen holder, and some hooks for keys and sunglasses.  We mounted it right next to the front door so that every time she arrived, she would offload her cargo, and it would be waiting there for her each time she left. She loved it so much, and it so effectively solved her problem, that I ended up making one for myself.  As others would see them and inquire about them, I would inevitably end up making boxes for them as well.  Eventually, I started seeking out empty liquor boxes specifically for this purpose.  I don’t have any pictures of those original boxes, as they’ve all either left or been given away.  Here are some more recent examples:

This one was made from a Midleton Irish whiskey box. There's a scavenged brass cabinet knob on the front for opening it, or for hanging a hat.

 

Inside, I used the included bottle spacers to make shelves. There is a place for hanging sunglasses, a lighter holder, hooks for more keys, a hook for my CRKT M16-14Z, and two Oklahoma depression era half cent peices for mounting-screw reinforcement.

 

On the side is a hook to hang my favorite wristwatch.

This one is also made from a Midleton box, though I removed the label. This time I used a scavenged porcelain knob and placed it on the side. The two hooks on the side are for hanging sunglasses.

This time the bottle spacers were already gone, so I cut shelves out of the cover of a hardback reference book I wasn't too fond of and hot glued them into place.

A better view - plent of hooks for spare keys.

 

Yet another Midleton Irish whiskey box (it's a family favorite). This time I used a couple different drawer pulls and got pretty creative. Only one hook for keys this time.

More shelves cut from the cover of the same reference book. The glue isn't nearly as visible as it appears to be in the light of my camera flash.

another view

This is the box from a very expensive bottle of Jameson. I built this one for my brother's birthday gift, so I wanted it to look classy. (salt sold separately)

I used all brass fixtures this time - nothing salvaged. I actually spent some money on this one. Places to hang two pairs of sunglasses, and two eye screws for mounting.

This box came with felt lined spacers, so I pulled them out and cut them into shelves, and then used brass mini-shelving brackets to mount them.

Here it is in use, though not yet mounted on the wall.

I stuck an ink pen in the sunglasses holder - versatility FTW!

At this point, I ran out of liquor boxes.  Luckily, after seeing some of my work, a bartender from a local cigar bar (The Cigar Box, Broken Arrow, OK) donated a metric shit-ton of empty cigar boxes to me in exchange for his own personalized door box.  I’d never made one out of a cigar box, which is considerably smaller than a liquor box, but I was certainly up for the challenge.

 

three key hooks, a sunglasses holder, and another scavenged brass knob

Cigar boxes come with removable balsa wood spacers and side panels which can easily be turned into shelves. I lined this one in some black felt I found in my dad's garage..

Magna cigars are made in Honduras, so I decorated the inside of the lid with some Honduran coins from my childhood coin collection.

the complete Magna box

I was a bit worried about this box of Cubans because it was very shallow

It had no closure or latch, so I broke some fridge magnets and made a magnetic closure. Again, the shelves are made from the existing cigar spacers. I used some more brass mini shelving brackets to create some cool rounded corners. Because this one is so shallow, the options for its contents are limited to things like keys, lighters, chapstick, etc.

I used the cooling stand from my soldering iron to make this matchbox holder.

this box had no lid, but it actually turned out to be one of my favorites.

 

It would make a great shot glass, bottle opener, cork screw holder for above a home bar

 

this box had a very interesting way of opening. I used a small wooden drawer pull on the top half, and an antique brass pull for the bottom half.

the hooks are primarily on the sides since the front of this one opens down. The hooks on the front are actually to stop the front from opening further than 90 degrees from the box - proving a horizontal shelf when open.

yes, the slanted shelves are intentional - I thought it added quirky character.

This is another unique one. I had an unfinished wooden craft box that I used to keep gun cleaning supplies in, but after putting those into another container, I had no use for the craft box. So, I mounted a small cigar box on top of it. The mirror actually used to sit beneath a candle, and the knob is another salvaged porcelain knob.

when you open only the cigar box on top, you have hooks for spare keys.

The larger craft box has its own knob. The drawer handle has no function, but it was already on the craft box, and it looked nice, so I left it.

when its mounted on the wall, this door opens quite easily, since the weight of the lid mounted cigar box and its keys is moving horizontally

more key hooks inside this lid - this box is clearly for someone with a key fetish.

Again, I used the last of the reference book cover for these shelves. If you're curious, the book was over the architecture of Rome.

This box of "Acid" cigars already had character, so I had to come up with something extremely cool for it.

I had to add a latch to this one to keep the door shut when it was mounted on the wall. The weight of the brass knob kept causing the door to swing open.

This is what I came up with - I lined the entire inside - shelves, walls, and all - in white rabbit fur. Luxurious.

 

Thanks to The Cigar Box in Broken Arrow, I still have quite a few cigar boxes to work with, so I’ll be posting another gallery of projects eventually.  I’d love to see what you wastelanders can come up with.  Build a door box, improve on my designs, get creative, and send me pictures – as always, bonus points for using scavenged, salvaged, and repurposed materials.

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Homemade Drink Holster

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