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Your choice of suitcase can impact just how well baggage handlers are able to board and unboard it

When travelling, you may think picking a suitcase is a pretty simple task, but one baggage handler has suggested that you may want to think again. Taking to Reddit, a baggage handler named Adam answered some questions about the job.

One curious internet user asked: “What’s the best / worst luggage to buy?” To which Adam was quick to reply: “Some of the worst bags to buy are the ones which have no wheels.

“In my airline, none of our holds are bin loaded, so we have to manually stack the bags inside each hold, and they can get fairly long.”

He continued: “If your bag has at least two high quality wheels, then it allows us to roll them down the hold quickly, making it easier for us. Otherwise, we have to throw the bags in order to keep to the scheduled times.

“My absolute least favourite bags are the ones that have four wheels, but one of them is seized up, so we try to roll it down, but it just falls over after moving six inches.”

Following on from this, a former baggage handler replied: “I used to handle bags. The multiple zipper expanding tubes with four tiny wheels on the bottom are garbage.

“Square ones also suck. Both mess up the stack pattern and forced me to adjust. I had always wished on airlines issuing standard bags for use. If all bags were the same, it would be a dream. Don’t get slick hard sided. They slide off or these slide off out of place.”

Similarly, flight attendant Megan Homme, who works for an American airline and shares clips on TikTok under the handle @meganhomme, previously shared some tips for picking out the right suitcase before jetting off.

Megan highlighted that one initial consideration should be your suitcase’s construction material. Whilst soft-shell cases might be simpler to handle, they can create difficulties if another passenger’s luggage spills or splits open in the cargo area.

She also suggested opting for a dark coloured case to reduce the likelihood of visible damage when it reappears from the hold.

“If your bag is going under the plane, it is going to be scuffed up very quickly. I learned that the hard way.”

With Gustavo Dudamel’s final season as music and artistic director of the Los Angeles Philharmonic reaching its homestretch, the orchestra has announced the appointment of its latest not music director. Anna Handler, a former Dudamel fellow and rapidly rising young conductor, will be given the new title of conductor-in-residence for the next three seasons.

She will spend three weeks each season conducting the orchestra at Walt Disney Concert Hall and the Hollywood Bowl, as well as working with students at the Beckmen YOLA Center in Inglewood. In a phone call from Boston, where she serves as assistant conductor at the Boston Symphony, she says she is also strongly driven by technology and wants to explore all kinds of projects with the latest devises.

“The sky is the limit,” Handler exclaims with the boundless enthusiasm that is said to have won over the orchestra and the administration.

That might include, she further fantasizes, a technology tool you don’t even notice but that focuses your attention to sound vibrations the way glasses give clarity to blurry vision. “Why not glasses for the ears?” she excitedly asks.

Kim Noltemy, the L.A. Phil president and chief executive, says Handler’s appointment does not necessarily imply the orchestra won’t ultimately find a music director who can oversee the bigger picture of the world’s most artistically diverse, expansive and wealthy orchestra. But the L.A. Phil has so many fingers in so many pies that no one person can do it all.

Meanwhile, the L.A. Phil now adds what it has been missing in what the institution calls its team of creative collaborators. As creative director, former music director Esa-Pekka Salonen will spend six weeks a season helping envision what a 21st century symphony orchestra might look like. John Adams continues his role as creative chair as do early music specialist Emmanuelle Haïm (artist collaborator), Herbie Hancock (creative chair for jazz) and Zubin Mehta (conductor emeritus). None, however, is younger than 60. Handler turns 30 this month.

Born in France, she grew up in Germany and is Colombian German. Both her parents are electrical engineers, whom she says her love for technology come from. And she notes that her roots also make her feel at home with the L.A. Phil. She connects with Salonen’s pioneering fascination with technology and the orchestra. With a Colombian mom, she is readily attuned to Dudamel’s Venezuelan heritage. Like her, Salonen, Dudamel and Mehta first began working with the L.A. Phil in their 20s.

Handler’s appointment came, she says, as a surprise. It was after her conducting the L.A. Phil at Disney last month that the orchestra suddenly sprang the idea of a residency beginning almost immediately with the 2026-27 season, even though the Bowl and fall seasons are already planned. Noltemy puts it to the fact that Handler and the orchestra simply got caught up in her energy.

Handler says she jumped at the chance to return to L.A. even though she would be beginning her first season of her first music director job at the Ulster Orchestra in Ireland. A pianist who loves chamber music (which she says will make part of her L.A. residencies), she also becomes artist in residence of the Beethoven House in Bonn, Germany. But, she excitedly exclaims, “At the L.A. Phil you can dream big. And if you have any big ideas, please tell me about them.”

He excitement over music education and community outreach also proved a draw. At 17, she formed her own student orchestra, which performed in schools, old age homes, prisons, all over. And she points out that she is young enough to feel relatively close in age to the students at YOLA, or Youth Orchestra Los Angeles. She describes one of her missions in life as getting young people involved with classical music.

“My long-term dream,” she proclaims, “is to build a Disney World for classical music.” There could be a Beethoven’s Fifth ride. She imagines melody, rhythm, harmony and form as little creatures whom we follow on their journey through the piece. “I’m all about decoding the rhythms of the music,” she adds.

Tellingly, Handler had already been scheduled to be the first conductor to follow Dudamel’s final Hollywood Bowl concert as L.A. Phil music director this summer at the iconic L.A. venue. It features Beethoven’s Fifth Symphony. Her two programs at Disney next season include West Coast premieres of Philip Glass’s Symphony No. 15 (“Lincoln”), which the composer recently withdrew from the Kennedy Center, and John Williams’ recent Piano Concerto.