Lifestyle
The European Heir Restoring Forgotten American Cars to Glory
A giant screen still towers over the site of the former Boulevard Drive-In Theater, a sprawling complex ringed by low-rise buildings in an industrial section of Allentown, Pa. For several decades in the middle of last century, it and other drive-ins showcased the might of America’s auto industry. The theaters — along with drive-through banks, pharmacies, groceries, liquor stores and dry cleaners — were both symbols of how cars were shaping popular culture and places to see all varieties of domestic vehicles.
The Boulevard Drive-in closed in the 1980s, after about 40 years in operation. But visitors to the site today will notice signs of automotive life. Its hilly landscape has been paved with miles of narrow, curving roads and there is now an old-timey Sinclair Oil gas station on the premises, complete with a glass-tank pump and a sign that flashes the company’s dinosaur logo.
The infrastructure supports what the old drive-in has become: a temple to American cars from the early to mid 1900s.
Called the NB Center for American Automotive Heritage, the private museum was founded about a decade ago by Nicola Bulgari, the 84-year-old vice chairman of Bulgari, the Italian luxury brand that his grandfather started in Rome in 1884. (In 2011, the Louis Vuitton Moet Hennessy conglomerate took control of Bulgari in a multi-billion-dollar deal; in 2023, Mr. Bulgari was convicted of insider trading with LVMH stock in France and fined about $1.4 million.)
The NB Center, in which Mr. Bulgari has invested at least $10 million, has about 200 vintage cars from his collection (another 100 are in storage in Italy). Nearly all of the vehicles were built between the 1920s and the mid-1950s, in the middle of America, for the middle of the market. There are Chryslers, Chevrolets, Nashes, Oldsmobiles, Studebakers and, most abundantly, Buicks.
Mr. Bulgari knows each of the vehicles by make, year, specification — and often by purchase date and location, too. He rattled off the bona fides of several cars on a recent tour of the center: They included a 1934 Buick 96S with “a smooth reliable engine that is unparalleled,” as he put it; a 1941 Nash with a rear seat that converts into a bed; a 1948 Buick “woody” station wagon with an ash-and-mahogany body.
There was also a 1934 Chrysler Airflow Coupe, a model emblematic of the aviation-inspired trend toward streamlined automobile design. (Its developers included Orville Wright.) “From 1930 to 1934, a huge change occurred in design, when cars went from being a box, to smoothing down,” Mr. Bulgari said.
He has purchased most of the cars from sellers around the world. But Mr. Bulgari has also received some from donors who share his passion for a genre of automobiles that is prized less by collectors than cars from luxury European brands like Bugatti or Rolls-Royce.
“People ask me, ‘Why don’t you collect Ferraris?’” Mr. Bulgari said, noting that his older brother Gianni used to race a Ferrari 250 GTO in the mid 1960s. “My answer is there are too many Ferrari collectors already. They don’t need me.”
He feels that the cars he collects do. Mr. Bulgari sees his automotive center as preserving what he calls “the history of the greatest era of the American automobile.”
While not currently open to the public, the center has hosted car clubs, philanthropic organizations, researchers and students for tours and events. Like other museums, it will loan out its contents. A 1934 Nash Ambassador from Mr. Bulgari’s collection recently appeared in the Pebble Beach Concours d’Elegance auto show, where the car won a second-in-class ribbon. Other cars or components have been borrowed by the Museum of Modern Art and the Frick Collection.
Though the types of vehicles Mr. Bulgari collects are from a time when automakers in the United States made significant design and engineering advancements, they have little material value today. They generally sell for mid-five-figure prices (about the average cost of a new car) and restoring one can easily cost five times as much.
That’s largely why “the survivability of those cars is very low” compared with that of blue-chip models preferred by collectors, said Jonathan Klinger, 43, a vintage automobile specialist who spent years working with classic cars at the insurance company Hagerty before becoming the NB Center’s executive director last year.
Mr. Bulgari’s car collection may be less famous than Jay Leno’s and less rarefied than Ralph Lauren’s, but it has a distinct theme, something that Ken Gross, an automotive historian, author and curator, said is essential to any good collection.
“I personally think what Bulgari has done is wonderful because many of those cars were, if not neglected by collectors, just not paid much attention to,” Mr. Gross added. “Their restoration gives you a glimpse into some cars that you might not necessarily see anywhere else.”
Mr. Bulgari’s fascination with American cars started in childhood, around the time the Boulevard Drive-In opened in Allentown. “I first saw American cars in 1946 in Lugano, Switzerland,” he said. He was five years old and World War II had just ended. “I don’t have to describe what Rome was like in 1946, after the war,” Mr. Bulgari continued. “It was scary. So it was a bit of a shock to see these magnificent cars.”
He purchased his first Buick — a toy car — that same year. Not long after, in 1953, he went to watch the Mille Miglia, a 1,000-mile semiregular road race in Italy that first took place in 1927. He was 12, and although the race featured Porsches, Jaguars, Mercedes-Benzes, Aston Martins, Ferraris and Maseratis, Mr. Bulgari recalled dreaming only of seeing a 1953 Chrysler, one of the few American cars in the race.
“American cars had something style-wise that European cars never had,” he said. “And because of strong competition and a growing market, their engines, transmissions and suspensions were so advanced,” he continued, almost breathlessly. “And the metallurgy — they were constantly working on finding better materials, higher quality, longer lasting.”
To maintain his cars, Mr. Bulgari has brought a handful of small car-restoration businesses to the center, acquiring them in deals that included their equipment and employees (no jobs were lost in the process). The businesses include the former Hyde Villa Machine Shop, which operated in Reading, Pa., for more than 50 years before its owner, Rich Olsen, sold it to Mr. Bulgari two years ago. “We brought in everything — boring machine, crankshaft grinder, milling machine,” Mr. Olsen, 72, said.
Keith Flickinger, the NB Center’s curator and chief operating officer, sold his business, Precision Motor Cars in Allentown, to Mr. Bulgari in 2015, after years of working on various restoration jobs for him. “I used to have dozens of projects from dozens of clients,” Mr. Flickinger, 62, said. “Now I have dozens of projects, but just one client.”
Mr. Flickinger saw folding his business into the NB Center as a way to preserve it, he added, while “preserving American automotive history and mentoring younger craftspeople” like the center’s student interns. They have come from the Pennsylvania College of Technology, Lehigh University in Bethlehem, Pa., and McPherson College in McPherson, Kan., the rare American university to offer a four-year degree in car restoration. Amanda Gutierrez, McPherson College’s vice president for automotive restoration, said the center “has become a valuable educational partner, applying and expanding skills students have developed.”
Jon Haring, 48, the center’s automotive restoration manager, started working with cars as a teenage apprentice to Mr. Flickinger. Now he spends his days getting Mr. Bulgari’s vehicles in perfect running order — a process that can take as long as two-and-a-half years for a single car, partly because the period-correct parts they can require often have to be made from scratch.
Charts tracking the progress of restoration work are posted near the entrances to the center’s workshops. The projects are myriad and often arcane: Creating handmade wooden wheels in the style of a 1920s Studebaker with the help of local Amish wheelwrights, for instance, or producing floor mats like those in a 1930s Nash by cobbling together ribbed rubber, casting a silicone mold and pouring in urethane. “It took about 40 hours to make the mats,” Mr. Haring said.
Brad Danish, an upholstery technician, started working full-time at the center in 2015. He had previously spent much of his career working out of the garage of his home in Pennsylvania’s Lehigh Valley. Using a range of industrial sewing machines and custom-made components, Mr. Danish, 66, has stitched seats, door panels, headliners and carpets.
His craft is exemplified in the restoration of the leather seats in Mr. Bulgari’s 1939 Lincoln Zephyr convertible, which was believed to be the only model of its kind in original condition when Mr. Bulgari bought it for $60,000 in 2016. By then, the leather upholstery had petrified and the stitching had decomposed. Mr. Danish removed, soaked and softened the hides before reupholstering the seats by sewing through their existing stitching holes. That level of reverence to original details, he said, sets “a standard for future restorations of similar vehicles.”
Mr. Bulgari said that another goal of the NB Center and its work is to ignite in others the same passion he has for the cars he collects. “What I’m trying to create is something that is contagious, that people understand, and then, on their own, they’re trying to save the cars of this time as well,” as he put it. “What is important is that people get inspiration. Even if they do one car in a lifetime, they save a piece of history.”
Some who have been to the site have taken up Mr. Bulgari’s cause. Johnathan Trumbo, 25, and Anthony Maguschak, 23, two mechanics at the center, now each own early 20th-century American cars. Mr. Maguschak, who lives in the Lehigh Valley, bought and has been rebuilding a 1939 Buick Special. “I absolutely credit Mr. Bulgari and this place with my interest in old Buicks,” he said.
As for Mr. Trumbo, who also lives in eastern Pennsylvania, he bought a 1931 Ford Model A pickup truck. “My friends all have their things — they’re into computers or electronics,” he said. “This is my thing. And they think it’s cool.”
Correspondents of CBS’ 60 Minutes pose for a portrait in 2023. From left to right, they are Sharyn Alfonsi, L. Jon Wertheim, Bill Whitaker, Lesley Stahl, Scott Pelley, Cecilia Vega, and Anderson Cooper. Former Executive Producer Bill Owens sits on the far right. Only Wertheim, Whitaker and Stahl remain at the program.
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When CBS fired Scott Pelley on Tuesday night, the new 60 Minutes executive producer, Nick Bilton, told Pelley it was for insubordination at a staff meeting the day before.
The veteran correspondent argues he was defending the DNA of 60 Minutes and the integrity of its journalism.
The battle royale over the network’s most prestigious and profitable news program is part of a broader fight over the direction of CBS News.
And given CBS’s acquisition by a billionaire family whose business interests have become intertwined with the political interests of President Trump, it reflects a larger war over control of the media in the current moment.
That father and son, Larry and David Ellison, bought CBS’ parent company, Paramount, last summer. In January, they became co-owners of TikTok’s U.S. operations. Now they’re seeking approval from Trump’s regulators to buy Warner Bros. Discovery, the parent company of CNN.
A glamorous show shorn, for now, of most its stars
CBS fired Cecilia Vega, a correspondent, and Tanya Simon, the executive producer, from 60 Minutes last week. They are shown in this photo at the 2026 White House Correspondents’ Association Dinner on April 25, 2026 in Washington, D.C.
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Kristina Bumphrey/Variety via Getty Images/Variety
But the specifics of this individual episode matter — for 60 Minutes, CBS, its audience of millions, and even the news business itself.
The program has been the most glamorous post in broadcast news. The correspondents are the stars of the show. And now, there are just three of them.
Anderson Cooper left last month, concerned over the direction of the network’s coverage. Last week was a virtual bloodbath: correspondents Cecilia Vega and Sharyn Alfonsi were fired. So were a producer and two show executives — including Tanya Simon, a longtime staffer who had stepped up as executive producer when her predecessor resigned in protest before the Ellisons’ takeover.
With Pelley’s ouster, only correspondents Lesley Stahl, Bill Whitaker, and Jon Wertheim remain. Now they are considering whether to resign, according to two associates with knowledge.
Their brand-new boss, Bilton, was previously a tech reporter for The New York Times and an investigative reporter for Vanity Fair. He executive-produced a documentary for Netflix about a couple accused of laundering Bitcoin and has been a producer on several other films.
Notably, he has no experience in television news.
Neither does Bari Weiss, whom David Ellison installed as the network’s editor in chief last October. The Ellisons also bought her center-right views-and-news site, The Free Press.
She has maintained that the network of Walter Cronkite needs a makeover for the digital moment. She has also contended for years that CBS, along with the rest of mainstream media, is too reflexively anti-Trump, anti-Israel, and too woke.
A rejection of CBS News executives’ overtures
The new executive producer of 60 Minutes, Nick Bilton, has been a tech journalist and documentary filmmaker, but lacks experience in broadcast news.
Matt Winkelmeyer/Getty Images/Getty Images North America
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Matt Winkelmeyer/Getty Images/Getty Images North America
Bilton attempted to set a conciliatory tone at Monday’s meeting — his first with the show. Pelley, a formidable veteran correspondent and former CBS Evening News anchor, wasn’t having it.
Pelley called Bilton unwelcome and unqualified. And Pelley said that Weiss was attempting to “murder” the program.
In firing Pelley on Tuesday, Bilton said the journalist had hijacked the meeting and rejected overtures to work constructively through their differences. (NPR obtained a copy of the firing notice.) Bilton wrote that Pelley’s “antipathy to the future of the show came through loud and clear.”
In his own statement late Tuesday evening, shared with NPR, Pelley accused CBS’s new news leadership of killing 60 Minutes‘ DNA and pushing him “to inject falsehoods and bias into a politically sensitive story” and “to include assertions that are unverified.”
The accusations, to which CBS has not yet responded, echo those made by Alfonsi and Vega, the two correspondents fired last week.
Earlier this year, Alfonsi publicly complained after Weiss held one of her stories at the last minute, and kept it frozen for weeks, demanding an on-camera interview with a Trump White House official that never played out. It ran, unchanged from the intended version, with additional statements from the administration tacked on to the end.
After being fired, Vega said in a statement obtained by NPR that her team had “experienced efforts to insert political bias into our stories.”
“Let’s call this what it is: censorship, both censorship and self-driven” Vega continued. “It is dangerous for the show and dangerous for democracy.”
Weiss previously rejected Alfonsi’s and Vega’s allegations. (CBS said Vega’s claims, for example, were “not based in reality” while expressing appreciation for her work.)
Weiss and Bilton say digital threat requires a 60 Minutes overhaul now
In a meeting this morning, Weiss said that Pelley chose his own path — that is, to be fired rather than to find a way to work through his concerns, according to attendees. The network and Weiss have not yet publicly addressed Pelley’s accusations of interference.
Bilton and Weiss say they respect the show’s traditions, its accomplishments and its legacy of enterprise reporting, extended interviews and visual storytelling. It rose in the ratings 9% over the past season under Simon.
The two news leaders say, however, 60 Minutes needs to be overhauled before it becomes increasingly irrelevant in the era of streamers and other sources of news, information and entertainment in the digital age.
Interviews with 12 current and former CBS News staffers, from producers to executives, suggest great reservations and suspicions remain about Weiss’ judgment and her ability to handle the prominent and even famous journalists on whom her division relies.
Weiss had initially sought to reinvent the CBS Evening News, dropping a two-anchor format that had sagged in the ratings. Cooper turned down Weiss’ overtures to anchor it and left the network altogether, concerned about her approach, according to associates. (They spoke on condition of anonymity because Cooper has not chosen to speak publicly on the matter.)
David Ellison became chairman and CEO of CBS’ parent company, Paramount, after buying it last year.
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Noam Galai/Getty Images for Paramount/Getty Images North America
The ratings have continued to sag under new anchor Tony Dokoupil. And some CBS journalists, including producers who have left the Evening News, have publicly accused Weiss of making editorial decisions driven by politics. She has rejected those claims.
The decision to take on overhauling two key shows — one listing, one highly profitable, both high profile — carries significant risks for Weiss and the network, even apart from other considerations.
But the Ellisons’ presence cannot be ignored.
When Shari Redstone was negotiating the sale of CBS’s parent company, Paramount, to the Ellisons’ Skydance Media last year, the network announced the end of Stephen Colbert’s late night show. He had been one of the president’s most biting and acerbic critics.
David Ellison also made a series of concessions directly to Trump’s chief broadcast regulator, Federal Communications Commission Chair Brendan Carr, gutting CBS’s diversity, equity and inclusion initiatives and appointing a conservative ombudsman to field complaints of bias against its news reporting.
Carr and other regulators approved the Paramount deal last summer.
The accommodations echo those made by other media titans.
Amazon and Blue Origin founder Jeff Bezos remade the editorial pages of the Washington Post, which he owns, into a far more hospitable zone for Trump at the outset of his second term. So did Los Angeles Times owner Dr. Patrick Soon-Shiong, a noted medical device inventor. Amazon and Blue Origin have multi-billion dollar contracts with the federal government. Soon-Shiong’s medical research firm routinely has patent applications up for review with federal regulators. One was approved Tuesday.
The Ellisons are hoping to win approval from federal regulators next month for their purchase of Warner Bros. Discovery in a deal valued at more than $110 billion. It would include Warner Bros. Studio, HBO and CNN, among other properties.
As Weiss routs CBS News’ old guard, the question of what role she might play at CNN — and what changes that portends at CBS — hangs over journalists at the two networks. The fate of 60 Minutes serves as a high-stakes case study for both.
Lifestyle
Vintage-obsessed millennial parents are driving L.A.’s booming kids’ clothing resale market
Kids’ vintage clothing sales are experiencing a remarkable boom at in-person markets and online, where prices for clothes for little ones have shot up on websites including Depop and Poshmark. Millennial parents are looking to outfit their kids in the clothes and TV and film characters they loved (or coveted) when they were kids.
The result? There’s a new generation of kiddos hitting the playground looking incredibly cool. Take Amari Case, a SoCal toddler who spent a Sunday afternoon this spring ambling around a vintage market in a West Hollywood warehouse clad in baggy jeans and a ’90s-era tee emblazoned with the “Dragon Ball Z” character Son Goku.
When she wasn’t scribbling on a Lorax coloring sheet, she’d been cruising around the market with her dad, Aaron Munoz Case, snapping up new pieces destined to make her the flyest kid at the preschool playground.
Neil Wright, from left, Kristine Nite Scalzo and Brandon Rosenblatt, co-founders of Elemeno Kids Vintage Market.
Showing off Amari’s new vintage satin L.A. Raiders jacket and tiny teal Grant Hill Detroit Pistons jersey, Munoz Case, who was also impeccably dressed, noted that while Amari went through a phase at about 18 months where she wanted to dress herself, eventually she gave up and went back to letting her dripped-out dad dictate her wardrobe.
Munoz Case found Amari’s first vintage piece at the Rose Bowl Flea Market and got the bug, going back every month to pick up something to add to his little’s wardrobe.
Trendspotters and researchers say Munoz Case isn’t alone in his quest. The market for kids’ vintage clothing has heated up precipitously over the last few years, perhaps hitting a boiling point in January when an Eeyore romper from the ’90s sold for over $3,000 on EBay. (It was new with tags, but one without tags still went for almost a grand about a month later.)
The thirst for tiny throwbacks is so popular that first-ever, all-kids market Elemeno — named after the “L-M-N-O” bit of “The Alphabet Song” and where Amari was toddling and shopping — drew 17 vendors and over 2,000 attendees over a single weekend in March. (There are plans for another Elemeno Kids Vintage Market pop-up later this year in New York, as well as plans to bring the event back to L.A. sometime next year.)
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1. Cameron Scalzo, wearing a vintage McDonald’s T-shirt from the ‘90s, and mom Kristine Nite Scalzo. 2. Cameron Scalzo rocks an Avirex jacket from the ‘90s.
Eye Speak Vintage’s Kristine Nite Scalzo, who co-organized the event and is opening an all-kids vintage store in Pasadena this month, says she fell under the kids vintage spell in 2020 when she was pregnant with her son. She’d always been a vintage shopper for herself, so she knew she wanted to pass the passion down to the next generation. She started filling up her son’s closet, and soon enough, she found herself selling her other finds out of a bodega in her garage.
She has a by-appointment space in Pasadena now, where she draws everyone from Rihanna’s stylist to out-of-town moms who make a point to stop by on their way to Disneyland. “The community around kids vintage has really skyrocketed on Instagram over the past six years,” Scalzo says. “We want to know who we’re buying from. We want to know that we’re doing good with buying secondhand. And it’s a hobby for people that can turn into a possible business on the side. Because knowing there’s a big group that’s interested in vintage kids clothes, you can always pass an item [your kid outgrows] to someone else or resell it.”
Scalzo says some parents are out digging through bins at the Goodwill Outlet looking for the perfect piece, while others are content to pay up for, say, a ’90s Simpsons T-shirt or a mini-size Harley-Davidson jacket. Scouring the racks at the Elemeno market, most pieces cost $15 to $40, though there were special pieces pulled to the side in some booths with price tags that could make a parent’s eyes pop. (Think $275 for a set of well-worn Spider-Man overalls from the ’00s or $150 for a pair of Cross Colours denim shorts from the ’90s.)
In kids and adult vintage alike, mint condition is highly valued. No matter the era in which they were raised, kids tend to be messy. They get strawberry juice on their shirts or scuff up the knees on their Bugle Boy jeans. Vintage kids clothes that look pristine are more expensive, and while plain kids clothes do sell, items with characters on them or cool prints tend to draw more attention and dollars.
Brandon Rosenblatt, another of the Elemeno organizers, says he’s had his eye on a specific kids “Back to the Future” shirt for some time, but notes that it typically sells for about $1,000. He’s partial to McKids clothes for his daughter, from McDonald’s short-lived kids clothing brand, noting that he’s even snagged her a vintage official McDonald’s-themed aloha shirt from Hawaii, something he says he’s never seen anywhere else.
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1. Siblings Amora and Milo Castilo wear vintage cowboy hats, jackets and chaps. 2. Thalia Castilo and her kids Amora and Milo.
Other collectors, he says, might be a little less obscure, leaning into mainstream characters such as Strawberry Shortcake or from ’80s and ’90s properties including “The Land Before Time” and “Rugrats.”
“A lot of millennials are having kids — like everyone who’s in their 30s and 40s — and they all want to put their kids in the same IP they grew up in,” Rosenblatt says.
“It’s the thrill of the hunt that gets everyone so excited,” Scalzo says. “Once you find that perfect nostalgic piece, you’re like ‘Holy s—,’ and you just want to chase that feeling again and again.”
Mia De La Rosa, a reseller who was at the Elemeno market, says that like Scalzo, she started buying kids vintage clothes when she was pregnant with her daughter, Liv, who’s 6 now, very into everything on PBS Kids and has a closet full of thrifted vintage garb covered in characters such as D.W., the annoying little sister from the ’90s show “Arthur.”
Everything Liv wears is “completely her style,” De La Rosa says. “She dresses herself every day and she gets compliments on what she’s wearing at school all the time.”
Other vintage-wearing kids — and in particular younger ones — might simply be sporting what their parents like or might just like the look of the shirt even if they don’t know what it’s advertising. (An 8-year-old boy at the Elemeno market, for instance, chose to wear a pristine T-shirt highlighting the ’90s Jim Carrey movie “The Mask” because it featured his favorite color: green.)
Derrick Broaster, a vintage enthusiast turned full-time reseller, says that while he chooses to put himself in clothes from the ’60s and ’70s, he outfits his two sons in clothes from the 2000s. (“How Bow Wow used to dress when he was a kid,” he says.)
Although his younger son tends to rebel against Broaster’s vintage picks, opting for whatever Spider-Man shoes happen to be in his eyeline, his older son has leaned in, letting his dad advise him on what vintage pieces could work and what would be the most stylish.
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1. Julian, left, and Javier Gutierrez show off their vintage clothing. Javier says his mom always tells him to keep his vintage outfits clean. 2. Mom Priscilla Guzman, clockwise, Dad Javier Gutierrez and sons Julian and Javier Gutierrez enjoy the vibe of vintage clothing. Guzman says she’s been buying and selling kids’ vintage since her oldest son was born eight years ago.
Rosenblatt says a good portion of what vintage finds he sees in the market now has returned to the U.S. from places in Central America and South America or Asia where those pieces were likely sent decades ago after they were donated or given away.
“There’s a real underbelly of this vintage game with rag houses getting access to bulk product overseas and letting people sort through it,” he says. “There are companies now that rip through 20, 30 or 40,000 pieces of vintage clothing a week. It’s a really interesting ecosystem.”
For many kids vintage sellers, finding their stock is just as fun and interesting as getting it back into consumers’ hands. “Anywhere we can find clothes, we’re there,” says Matthew Carlos, owner of Long Gone Youth. He started selling vintage clothes 11 years ago, when he was 15, switched to kids vintage at 20 and has spent the last six years scouring flea markets, websites and swap meets.
“The kids market is definitely growing,” he says, “but I still feel like we haven’t even gotten close to where we can go. It’s just getting popular now, but the more events [like Elemeno] we can do, the more it’ll go mainstream.” Even now, some major brands like Gap and OshKosh B’gosh have recognized the interest in some of their styles from the ’80s and ’90s, moving to re-release the looks in limited runs.
Jackie and Frank Oropeza with daughter Rumi Mae shop at Elemeno Kids Vintage Market.
Kids resale is also leaning into streetwear culture. Rosenblatt, who worked in the streetwear industry, says that he’s noticed that a good portion of those interested in kids vintage — particularly, male shoppers — tend to be fans of streetwear brands like Supreme, Fear of God Essentials and Bape. At Elemeno, for instance, a good portion of the parents we saw pushing strollers were well-dressed dads seemingly on solo missions, something you don’t always see at kid-centric events.
“I just want my son to feel like I did as a kid,” said Justin Nguyen, while watching his toddler, Jayden, play with bubbles. “I want him to be happy, carefree and joyful, and I want to be able to spend time with him. My mom and dad were always working, even on the weekends. Now that I’m a dad, taking my son out on weekends to do stuff like this just seems like a blessing.”
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