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48 LOUISVILLE MAGAZINE 5.15 Year moved to New York: 2003 Profession: Owner and operator of Temporary Residence Limited record label, which DeVine founded in 1996. The label has grown to include three full-time employees and has released 253 records. Louisville bands Temporary Residence has worked with: Coliseum, Young Widows, Watter and Parlour. DeVine also did the design work for a special Slint box set. What's one thing Louisvillians have to do in New York? The Queens Museum of Art has an incredible permanent exhibition of more than 10,000 relics from the two World's Fairs that took place in NYC. It's a monument to retro- futurism like no other. What's a normal day like for you? If we have big records coming out, the prep is really intense. Sometimes we do billboards and mural projects for some of the bigger releases. All the records are planned out at least six months in advance. I do the design and layout for about 98 percent of the records. The label is known for its dedication to artistic integrity. How do you make it work? It's like a collaborative art project. When I have one thing doing well, I can support putting out records by artists I believe in who may never work (commercially) but I love what they do and what they've inspired. It's worth facilitating and it's worth patronizing. Why did you decide to move to New York? I left Louisville the first day I could after high school (DuPont Manual). I wanted to start over. I was really into the idea of nobody knowing who I was and being able to be a different person. Not a different person to myself, but to be perceived differently. So I went to school in Baltimore. I stayed there for a while and then moved out to Portland, Oregon. Eventually, I ended up here in Brooklyn. Do you ever think about moving back to Louisville? No. I have a wife and home here; we're hoping to have kids. It seems like it can be tough to find the balance of how to make the label work commercially without compromising your ethics. I'm grateful that I'm in a position where I'm even able to have that conversation. I know most people aren't. I don't want to work with (a commercially viable artist) that I can't get 100 percent behind. If I'm lucky enough to be in this position, I feel like I should do right by this position, 'cause it's not very often people get to be in it.