#klink line edits

[shiny-poke-edits]

the klink line

#shiny #edits #klink #shiny klink #klang #shiny klang #klinklang #shiny klinklang #shiny edits #pokemon #shiny pokemon #pokemon edits #shiny pokemon edits #klink line #shiny klink line #klink line edits #shiny klink line edits

[luthienne]

hello angel, I hope that you are doing well.

I’m sorry if I may be pestering you... but I thought that I could ask you this. Could you perhaps display a collection of quotes revolving around “disappearing.” ?

In a sense, from everybody’s life. but still being alive. But I would appreciate anything that you post.

Again, sorry for pestering. Thank you and I wish you all of the best.

It was very easy to disappear. Very easy to put on a red coat, switch off all the lights, go somewhere else, not go back to sleep anywhere.

Valeria Luiselli, from Faces in the Crowd (tr. Christina MacSweeney)

Louise Glück, from Averno

Nikki Giovanni, from “Cotton Candy on a Rainy Day”

Han Kang, Human Acts (translated by Deborah Smith)

I’d never seen anything like it. You haven’t got the strength. You are exchanged for a ghost,

Hélène Cixous, Hyperdream (tr. Beverly Bie Brahic)

“The me you see isn’t me – I am my ghost.”

Mahmoud Darwish, from ‘Mural’, Mural (trans. John Berger & Rema Hammami)

fr. “Extracting the Stone of Madness” by Alejandra Pizarnik, tr. Yvette Siegert

Mahtem Shiferraw, Your Body is War; “The Art of Invisibility”

The girl speaks even more slowly than usual, she’s absentminded, she who’s usually so interested in everything, her expression has changed, she’s become a spectator…

Marguerite Duras, from The Lover

Me, as ever, gone.

Anne Carson, from Decreation; “Despite her Pain, Another Day”

Mary Oliver, Blue Horses; “Blueberries”

...and / this is what we are reduced to, / the task of being disembodied / the small, small task of disappearing / without a sound, without a whisper of sorrow.

Mahtem Shiferraw, Your Body is War; “The Suicide Chamber”

Perdita doesn't seem to mind this or to sense that she is in danger of losing her right to corporeality. On the contrary, she purposefully deflects attention. When someone accidentally speaks to her, she just shakes her head. If they still won't take the hint, she'll add, 'No, I'm not here,' in a gentle way rather than a snippy one.

Helen Oyeyemi, from Gingerbread

ANN LAUTERBACH x NIGHTCORP | “Eclipse with Object”, And For Example (1994); untitled photos/edits by @nightcorp, published 14 July 2019 (x)

Christa Wolf, Cassandra: A Novel and Four Essays (tr. Jan van Heurck)

The girl is in a trance. All day in a kind of trance… She never makes a gesture. Immobile. Confronting herself. Surprised. Somnambulistic. She only moves to become someone else.

Anaïs Nin, from Nearer the Moon: The Previously Unpublished Unexpurgated Diary, 1937-1939

I don’t seem to want / anything others want. I don’t even know if / I want something. To be perfectly quiet, still alive / with no one pressing me.

Alice Notley, from Certain Magical Acts; “I Went Down There”

Sue Zhao

...I turned apathetic and silent. I could not say the most important thing, so it no longer occurred to me to say anything.

Christa Wolf, Cassandra: A Novel and Four Essays (tr. Jan van Heurck)

And I wish that I was someone else, a girl with words behind her face, not this one done up like a stone in herself.

Eimear McBride, from The Lesser Bohemians

Anna Kamienska, from A Nest of Quiet: A Notebook

Janet Fitch, from White Oleander

It was like not feeling real any more. Disconnected despite all the talking. Watching the self I’d built up over four or five years just crack and fall off me like paint.

Eimear McBride, from The Lesser Bohemians

Ono No Komachi, tr. by Jane Hirshfield and Mariko Oratani, from The Ink Dark Moon Love Poems by Ono No Komachi and Izumi Shikibu

I just can’t bear to think about it, actually. Just…empty. All day and night. Day after day and night after night.

Harold Pinter, from Betrayal

and i / learned to see but not show feeling and i learned to talk / while not / screaming

Nikki Giovanni, from "Poem of Angela Yvonne Davis”

Henry Dumas, Knees of a Natural Man: The Selected Poetry of Henry Dumas; “Saba”

Mahtem Shiferraw, Your Body is War; “The Memory of the Body”

Olga Broumas, Beginning with O; “Love Lines”

Joanna Klink, from “Winter Field”

Sometimes, when I'm careless, I think survival is easy: you just keep moving forward with what you have, or what's left of what you were given, until something changes—or you realize, at last, that you can change without disappearing, that all you had to do was wait until the storm passes you over and you find that—yes—your name is still attached to a living being.

Ocean Vuong, from On Earth We’re Briefly Gorgeous

#and you're not pestering at all mi amor <3 #ask #anon #compilation #you can also look through these tags: #la sonnambula #but we are ghosts only #quote compilation #long post

[scatterpatter]

Oh my god so I have a deck that I call “Molten Steel” thats build of fire and steel type pokemon yeah?

Well thanks to the cards i just bought online and some of my brilliant stars pulls, I made the following edits:

I have now added some Klinklangs to the deck(I only had Klinks and Klangs before)

I’m replacing a Delphox line with a Chandelure line

I’m adding my Ingo & Emmet trainer card

... I then realized that this is slowly becoming an Ingo deck

#pokemon tcg #wORTH IT THOOOO #I also have a brilliant stars Heatran in the deck which is PERFECT for a fire/steel deck #because it has a move that does base 80 damage- but ANOTHER 80 if any of the energies attached are fire #SO LIKE!!! A!!!

[theresabookforthat]

National Poetry Month Celebrates 25 Years!

Happy National Poetry Month – the largest literary celebration in the world! 2021 marks 25 years since the Academy of American Poets launched National Poetry Month in April, 1996. The choice of April was inspired by the first line of T.S. Eliot’s “The Wasteland”: “April is the cruellest month…”

Ushering in a new appreciation for the power of poetry is Amanda Gorman and her inaugural poem THE HILL WE CLIMB. Clearly, there’s no wasteland when it comes to poetry at Penguin Random House. Whether your proclivities are for free, blank or rhyming verse, lyrical poetry, prose poems, sonnets, elegies, odes… We’ve got it all! Here are just some of the astounding poets, a range of brilliant voices, we’ve published in the past year:

THE HILL WE CLIMB: AN INAUGURAL POEM FOR THE COUNTRY by Amanda Gorman; Foreword by Oprah Winfrey

Amanda Gorman’s powerful and historic poem “The Hill We Climb,” read at President Joe Biden’s inauguration, is now available as a collectible gift edition.

INDEX OF WOMEN by Amy Gerstler

From a “maestra of invention” (The New York Times) who is at once supremely witty, ferociously smart, and emotionally raw, a new collection of poems about womanhood.  Women’s voices, from childhood to old age, dominate this new collection of rants, dramatic monologues, confessions and laments. A young girl muses on virginity. An aging opera singer rages against the fact that she must quit drinking. A woman in a supermarket addresses a head of lettuce. The tooth fairy finally speaks out. Both comic and prayer-like, these poems wrestle with mortality, animality, love, gender, and what it is to be human.

GOD I FEEL MODERN TONIGHT: POEMS FROM A GAL ABOUT TOWN by Catherine Cohen

In these short, captivating lyrics, Catherine Cohen, the one-woman stand-up chanteuse who electrified the downtown NYC comedy scene in her white go-go boots, details her life on the prowl with her beaded bag; she ponders guys who call you “dude” after sex, true love during the pandemic, and English-major dreams. “I wish I were smart instead of on my phone,” Cat Cohen confides. A Dorothy Parker for our time, a Starbucks philosopher with no primary-care doctor, she’s a welcome new breed of everywoman—a larger-than-life best friend, who will say all the outrageous things we think but never say out loud ourselves.

FINNA: POEMS by Nate Marshall

Sharp, lyrical poems celebrating the Black vernacular—its influence on pop culture, its necessity for familial survival, its rite in storytelling and in creating the safety found only within its intimacy. Finna explores the erasure of peoples in the American narrative; asks how gendered language can provoke violence; and finally, how the Black vernacular, expands our notions of possibility, giving us a new language of hope:

AN INCOMPLETE LIST OF NAMES: POEMS by Michael Torres, Raquel Salas Rivera

An astonishing debut collection looking back on a community of Mexican American boys as they grapple with assimilation versus the impulse to create a world of their own. When Torres returns to his hometown to find the layers of spray-painted evidence he and his boyhood friends left behind to prove their existence have been washed away by well-meaning municipal workers, he wonders how to collect a list of names that could match the eloquent truths those bubbled letters once secured.

LEAN AGAINST THIS LATE HOUR by Garous Abdolmalekian, Idra Novey, Ahmad Nadalizade…

The first selection of poems by renowned Iranian poet Garous Abdolmalekian to appear in English, this collection is a mesmerizing, disorienting descent into the trauma of loss and its aftermath. In spare lines, Abdolmalekian conjures surreal, cinematic images that pan wide as deftly as they narrow into intimate focus. Time is a thread come unspooled: pain arrives before the wound, and the dead wait for sunrise.

OWED by Joshua Bennett

Bennett’s new collection, Owed, is a book with celebration at its center. Its primary concern is how we might mend the relationship between ourselves and the people, spaces, and objects we have been taught to think of as insignificant, as fundamentally unworthy of study, reflection, attention, or care. Spanning the spectrum of genre and form—from elegy and ode to origin myth—these poems elaborate an aesthetics of repair.

LITTLE BIG BULLY by Heid E. Erdrich

Little Big Bully begins with a question asked of a collective and troubled we – how did we come to this? In answer, this book offers personal myth, American and Native American contexts, and allegories driven by women’s resistance to narcissists, stalkers, and harassers. These poems are immediate, personal, political, cultural, even futuristic object lessons. Here, survivors shout back at useless cautionary tales with their own courage and visions of future worlds made well.

THE NIGHTFIELDS by Joanna Klink

A new collection from a poet whose books “are an amazing experience: harrowing, ravishing, essential, unstoppable” (Louise Glück)

ASYLUM: A PERSONAL, HISTORICAL, NATURAL INQUIRY IN 103 LYRIC SECTIONS by Jill Bialosky

Taken together, these piercing pieces—about the poet’s nascent calling as a writer; her sister’s suicide and its still unfolding aftermath; the horror unleashed by World War II; the life cycle of the monarch butterfly; and the woods where she seeks asylum—form a moving story, powerfully braiding despair, survival, and hope.

BLACK GIRL, CALL HOME by Jasmine Mans

This coming-of-age collection from spoken word poet Jasmine Mans presents unforgettable poetry about race, feminism, and queer identity. With echoes of Gwendolyn Brooks and Sonia Sanchez, each poem explores what it means to be a daughter of Newark, and America—and the painful, joyous path to adulthood as a young, queer Black woman.

COLLECTED POEMS by Sonia Sanchez

A literary event! Spanning four decades, here is a representative collection of the life work of the much-honored poet and a founder of the Black Arts movement. As Maya Angelou so aptly put it: “Sonia Sanchez is a lion in literature’s forest. When she writes she roars, and when she sleeps other creatures walk gingerly.”

 For more on these and other acclaimed poetry titles visit: National Poetry Month

Want a poem to arrive each day in your inbox for the month of April? Sign up for 

Knopf’s Poem-a-Day and be amazed! And visit The Academy of American Poets

 for more National Poetry Month activities, initiatives, and resources.

#national poetry month #penguin random house #there's a book for that #penguin poets #sonia sanchez #amanda gorman #viking books #knopf

[ashtrayfloors]

2020 Book List

An incomplete list of books I read in 2020 (not counting books I started but haven’t finished yet, or books I reread only sections of, or zines), divided into fiction, non-fiction, and poetry categories. Some of these books are hybrid works, in which case I put them into the category I felt they best fit into. An asterisk means it was a reread. I’ve bolded the ones I particularly loved. I’ve also included links to quotations/excerpts from some of them.

Fiction

Shine of the Ever, by Claire Rudy Foster

A Cathedral of Myth and Bone, by Kat Howard

On Earth We’re Briefly Gorgeous, by Ocean Vuong

The Mythic Dream, edited by Dominik Parisien and Navah Wolfe

We Had No Rules, by Corinne Manning

The Faery Reel: Tales from the Twilight Realm, edited by Ellen Datlow and Terri Windling

The Haunting of Hill House, by Shirley Jackson

In a Lonely Place, by Dorothy B. Hughes

And I Do Not Forgive You: Stories & Other Revenges, by Amber Sparks

The Necrophiliac, by Gabrielle Wittkop

Before and Afterlives, by Christopher Barzak

Finding Baba Yaga: A Short Novel in Verse, by Jane Yolen

Wild Milk, by Sabrina Orah Mark

Nonfiction

Aim and Wish, by A.L. Staveley

Make It Scream, Make It Burn, by Leslie Jamison

After Confession: Poetry as Autobiography, edited by Kate Sontag and David Graham

The Poem That Changed America: “Howl” Fifty Years Later, edited by Jason Shinder

Boss Broad, by Megan Volpert

Go Ahead in the Rain: Notes to a Tribe Called Quest, by Hanif Abdurraqib

A Field Guide to Getting Lost, by Rebecca Solnit*

100 Times: A Memoir of Sexism, by Chavisa Woods

Recollections of My Nonexistence, by Rebecca Solnit

In the Dream House, by Carmen Maria Machado

Erosion: Essays of Undoing, by Terry Tempest Williams

The Thorn Necklace: Healing Through Writing and the Creative Process, by Francesca Lia Block

Tracing the Desire Line: A Memoir in Essays, by Melissa Mathewson

What is the Grass: Walt Whitman in My Life, by Mark Doty

Dancing at the Devil’s Party: Essays on Poetry, Politics, and the Erotic, by Alicia Ostriker

Censorship Now!!, by Ian F. Svenonius

Funny Weather: Art in an Emergency, by Olivia Laing

Madness, Rack, and Honey: Collected Lectures, by Mary Ruefle

The Wet Collection, by Joni Tevis

Black and Blue: The Bruising Passion of Camera Lucida, La Jetee, Sans soleil, and Hiroshima mon amour, by Carol Mavor

In the Blue Pharmacy: Essays on Poetry and Other Transformations, by Marianne Boruch

Jane: A Murder, by Maggie Nelson

Mean, by Myriam Gurba

I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer, by Michelle McNamara

Dime-Store Alchemy: The Art of Joseph Cornell, by Charles Simic

Waking the Witch: Reflections on Women, Magic, and Power, by Pam Grossman

The Art of Recklessness, by Dean Young

Poetry

An American Sunrise, by Joy Harjo

Stay, by Tanya Olson

Be Recorder, by Carmen Giménez Smith

Soft Targets, by Deborah Landau

No Matter, by Jana Prikryl

The Obliterations, by Matt Hart

Made in Detroit, by Marge Piercy 

Walking Distance, by Debra Allbery

Exploding Chippewas, by Mark Turcotte

Neon Vernacular, by Yusef Komunyakaa

The Jazz Poetry Anthology, edited by Sascha Feinstein and Yusef Komunyakaa

Black Milk, by Tory Dent

A Fortune for Your Disaster, by Hanif Abdurraqib

Witch, by Rebecca Tamás

The Carrying, by Ada Limón

Homie, by Danez Smith

The Wendys, by Allison Benis White

Babel, by Patti Smith*

Alive Together, by Lisel Mueller

Night Sky with Exit Wounds, by Ocean Vuong

Advice from the Lights, by Stephanie Burt

This Is Not a Frank Ocean Cover Album, by Alan Chazaro

Blood on Blood, by Devin Kelly

American Sonnets for My Past and Future Assassin, by Terrance Hayes

Teahouse of the Almighty, by Patricia Smith

Fantasia for the Man in Blue, by Tommye Blount

Louise in Love, by Mary Jo Bang

Come the Slumberless to the Land of Nod, by Traci Brimhall

The Queer Body Anthology, edited by Yes, Poetry

Wolf Face, by Matt Hart

Living Room, by June Jordan

Trickster Feminism, by Anne Waldman

Here is the Sweet Hand, by Francine J. Harris

Dead Girls, by Francesca Lia Block

Inside the Wolf, by Niamh Boyce

I live in the country & other dirty poems, by Arielle Greenberg

The Death Metal Pastorals, by Ryan Patrick Smith

Bestiary of Gall, by Emilia Phillips

Toxicon and Arachne, by Joyelle McSweeney

Blood Box, by Zefyr Lisowski

Indictus, by Natalie Eilbert

This Is Still Life, by Tracy Mishkin

The Time Unraveller’s Travel Journal, by Upfromsumdirt

Love Poems, by Pablo Neruda

Excerpts from a Secret Prophecy, by Joanna Klink

Sorry for Your Troubles, by Pádraig Ó Tuama

Saranac Lake Ghost Poems, by Maurice Kenny

Light-Headed, by Matt Hart

The Tiny Jukebox, by Nate Slawson

Sham City, by Evan Harrison

Modern and Normal, by Karen Solie

My Tall Handsome, by Emily Corwin

When My Brother Was an Aztec, by Natalie Diaz

Guidebooks for the Dead, by Cynthia Cruz

Dandarians, by Lee Ann Roripaugh

Her book, by Éireann Lorsung

44 Poems for You, by Sarah Ruhl

Imaginary Menagerie, by Ailbhe Darcy

The Girl Aquarium, by Jen Campbell

Still Life with Two Dead Peacocks and a Girl, by Diane Seuss*

War of the Foxes, by Richard Siken

#nomanborn #list #books #2020 #jessie lynn mcmains #things i read

[idratherbefishingg]

Out of all of my experiments I like these ones the most and I took inspiration from them for my final piece. From the collage, it was the grainy effect that I really wanted to incorporate into my final piece, whether it was through a lino print itself or if I added it digitally. I felt that for the album cover, having that sort of effect made it have a similar feel as the album cover created by Andy Warhol for The Velvet Underground which I really liked and found inspiring. I also find that the texture adds a lot of interest, especially using it for several elements of the final piece so it all worked well together. I also took of inspiration from the vibrant colours which I had used in the Adobe Draw experiment. I wanted my little character to be a focal point in the piece, so using a very vibrant green with the bright red “toothbrush guitar” truly brought him to life and made him stand out. The bold black lines used to outline him made him stand out from rest of the piece despite him being quite small. Lastly, I enjoyed the logo experiment which is evident given that I actually ended up using one of these experiments in my final piece! I took one of my lino logo experiments, and made it purely black and white and digitally cut out the letters so I could use them as the text in my final piece. I love how it added to my piece since it’s quite original. I also felt that the lino-printed block letters linked really well with the lino-printed lamp which I also used in my final piece, creating unity throughout the album cover, both front and back. The use of lino printing gave the finished piece a grainy/messy effect that I wanted. I loved this effect as the texture hints towards the ‘messy’ nature of The Recycled Orchestra, and klinked it all together perfectly. 

The software I used to create my final piece was Photoshop. I chose this mainly because I have experience with the program and because I knew I could execute the digital parts of my concept with it. For example, making my lino look more broken up and textured using a brush tool. For these reasons, I chose Photoshop. My familiarity with it made it an easy and fun to use program, plus Photoshop offers a lot of range and different editing techniques which would be useful for my album cover. 

#BM_HNDCPM1

[pkansa]

The Klokers Klok-01 is unique, cool, sophisticated, and interesting. For so many of the watches I take a look at on WWR, it’s a take on the traditional form – strap, springbars, hands, quartz or automatic movement. There’s an unlimited variety of this formula, and many many makers do it well. To really make an interesting step, however, one must look outside the traditional form, and invent something totally new. Klokers has done just that with its Klok-01, the second piece from this artsy and interesting French brand.

I spent the past week with the Klok-01, on my wrist, in my pocket, and on my desk, cycling through two leather straps as well as the desk stand and pocket case. In short, it’s a fresh and interesting take on the watch, with unique design elements. It’s polycarbonate case is questionable, but its overall look and utility is unwavering, and it makes a handsome addition to your wrist, or desk.

First Impressions

This watch is so darn cool! From the beginning, the box it came in was interesting – a simple white box, with the Klok-01 presented in the middle of a foam panel, with straps curving around. Simple and easy. I appreciate Klokers for swaying away from some sort of garish presentation box, and going for a simple white box, intended for the single opening.

The Klok-01 makes an immediate impression. Presented apart from the straps, it’s an immediate nod to the creativity and versatility of the piece. I put on one of the straps include, and then slid and clicked the Klok-01 into the mount, and there it is, on my wrist.

Setting with the large crown is easy, although it takes a moment of getting used to setting the dials backwards. More on how to read it below.

The straps are finished nicely, with the custom mounting bracket really making them stand out as cool items themselves.

The black leather pocket case/desk stand is finished in soft black leather, although the positioning of the clock mount, and general build seem a little under-built to me.

  Fit and Finish

It’s important to remember that the case of the Klok-01 is polycarbonate plastic. It appears to be one piece going from the silvered case section to the clear domed crystal section. Given that it’s all plastic, the finish is perfect – no scratches or scuffs, and a smooth transition from silver to clear. On first glance, it’s hard to tell that the case body is plastic – but it is.

The caseback is brushed stainless steel, and has helpful etchings explaining the latching mechanism, and which screws to remove for battery service.

Dial printing is perfect, and I especially love the subtle red index markings on the black color edition. That little touch really makes it extra interesting.

The crown has an etched Klokers logo, and Klokers is printed on the index marker as well. Finally, it’s worth noting that “Hours” “Minutes” “Seconds” is printed in English, French, and German around the edges of each ring. Cool!

On the Wrist

Klok-01 is certainly an eye catcher. It’s a larger watch, but certainly NOT huge. The relatively sleek case sits on my wrist nicely, and although it sits a little higher than most watches, because of the mounting mechanism, it’s not unwieldy at all. The size is just right to make the dials clearly visible, without becoming cumbersome.

Because it’s primarily made of plastic, this watch is much lighter than you’d expect based on its size. It feels light and airy on the wrist, and is easy to wear for an entire day. The metal mounting bits of the strap warm up after you’ve worn it for a bit, and actually feels quite nice. As far as an every day wearer, this is a great option comfort wise.

Reading the time off the dial takes getting used to – time is read on the red index line, and given that the entire face is visible under the clear plastic, it looks a bit complicated when you first glance at it. It’s not the easiest to glance at the time in a quick moment, but a very slightly longer glance at the index is really all it takes. Definitely not much more of a distraction, and certainly worth it.

The Klok-01 is certainly eye catching, but not ostentatious or flashy. I loved wearing this and talking about it with friends – but never felt like I was making an overly flashy statement, like wearing some sort of diamond and gold giant tourbillon watch or something. This one is just interesting and cool.

As a daily wear, the only hangup I had was the plastic crystal – will that scratch easily?

Complications

Time

The Klok-01 is simple  – Hour, Minute, Second. But how it shows the time is unique. Here’s how to read the Klok-01:

Three concentric discs (hours, minutes and seconds) rotate counter-clockwise to indicate the time along the vertical axis at 12 o’clock (patent-pending).

https://www.klokers.com/img/cms/TUTO%20KLOK-01.mp4

Feedback

The unique styling of the Klok-01 leads to some interesting materials, design, and usability quirks. None are particularly insurmountable, and arguably add a bit of interest to the piece. However, there’s one issue that haunts me every time I wear it – the polycarbonate (plastic) crystal. Most watch crystals are made from either sapphire or mineral glass, save for some smartwatches. These very hard materials are selected for their clarity and scratch resistance, among other qualities. However, for some reason, Klokers has opted for a plastic crystal – oh so scratchable plastic. That means that even brushing the watch up against slightly harder plastic, your wall, edge of your desk, or really anywhere else has the potential to scratch it. That’s a bit of a letdown, and a constant fear I have while wearing it. I’d say if there was one thing Klokers could do here, it’s switch to an all stainless steel case, and domed sapphire or at least mineral glass crystal.

Besides that, the piece is great!

Should You Buy It?

If you’re looking for a truly unique, functional, and inspired watch to wear around the city or to the office, the Klok-01 fits the bill. Its look is unique, its clear and readable, and its latching system lets it transition from your wristwatch to your desk clock. Looking for a weekend beater, outdoors sportster, or gala sweeper, this is not the one.

Final Thoughts

The Klokers Klok-01 is a truly unique, inspired time piece. The combination of interesting materials, a unique, interesting, and eye catching face, clear legibility, and innovative and flexible latching system make this a standout timepiece of any collection – certainly mine. Go grab a Klok-01 and set yourself apart from the crowd. 

Brand & Model: Klokers Klok-01

Price: 399,00 €

Who we think it might be for:

If I could make one design suggestion, it would be: Use a domed sapphire or mineral glass crystal, instead of polycarbonate. As hard as the polycarbonate may be, it’s still going to scratch much much much more easily than sapphire. As a daily wearing watch, pocket watch, and versatile mounting watch, scratch resistance is really key here – the polycarbonate really just doesn’t cut it.

What spoke to me the most about this watch: The slide-rule inspired design, with that super unique bezel, and easy to read index. This is a unique piece for unique people.

Specs

KLOK-01 WATCH-HEAD

Circular slide rule inspired watch

Three discs (H, M, S) turn counter-clockwise

Time display along a vertical line at 12 o’clock

Swiss Made Movement, High Tech Ronda

Interchangeable strap

Dimensions: Ø 44 mm, 11.5 mm deep

Material: metal-polymer composite

Glass: transparent polymer with built-in magnifying lens

Water Resistant

Swiss Made

Movement: Ronda movement (quartz)

1,5 V battery

Two-year warranty

The klokers key: a pushbutton at 8 o’clock to unlock the watch head from its base

Colors: yellow, blue and gray.

STRAP KLINK-01

Interchangeable strap

Dimensions: 230 mm x 22 mm

Strap material: real leather, alcantara (sand)

Pin buckle material: stainless steel; engraved buckle

Colors: matte black, satin black, chocolate brown, indigo blue, sand, newport yellow

DESK & POCKET

Dimensions: 90 x 55 x 20 mm folded, 245 x 55 mm opened

Color: matte black

Compatible with KLOK-01 and KLOK-02

Case made from high quality PU (smooth grain evoking the full grain of genuine leather)

Metallic parts made from stainless steel

Upcoming: The KLOK-08

Stay tuned for a comprehensive writeup of Klokers’ latest piece, the KLOK-08

  The @klokerswatches Klok-01 slides onto my wrist.. and rules #affordable #unique #under$500 The Klokers Klok-01 is unique, cool, sophisticated, and interesting. For so many of the watches I take a look at on WWR, it's a take on the traditional form - strap, springbars, hands, quartz or automatic movement.

#klok-01 #klok-08 #klokers

[viagem-imagem-us]

Cinema em casa: confira eventos de cinema e dicas de sites para streaming de filmes

(imagem: I am R/Flickr-Creative Commons) Tudo isso ainda deve demorar para passar (bem mais do que aquela maratona de séries que você vinha planejando) e as opções de filmes na Netflix já começam a se esgotar. Mas como a vida em tempos de pandemia vai muito além do catálogo da maior empresa de distribuição digital do mundo, o Viagem em Pauta fez uma seleção de sites e eventos para quem anda procurando novidades do cinema. Librefix (grátis) Esta é uma plataforma aberta e colaborativa, em que os próprios usuários podem alimentar o catálogo. Ainda discreto, o acervo tem filmes independentes, como documentários, filmes nacionais, clássicos e infantis. Clique na imagem para ir ao site (imagem: Reprodução) LEIA TAMBÉM: “Dez filmes e séries sobre viagens para ver na Netflix em tempos de pandemia” Afroflix (grátis) Nessa plataforma colaborativa entram apenas produções independentes que tenham ao menos uma área de atuação técnica ou artística assinada por um profissional negr@. imagem: Reprodução Seu acervo conta apenas com obras brasileiras, como séries, filmes, programas diversos, vlogs e clipes. SAIBA MAIS MIS em Casa (grátis) Neste sábado (4 de abril) acontece a segunda edição do “Bate-papo de cinema”. O evento começa às 15h30 com a sessão digital do premiado ‘Bacurau’, em parceria com a Vitrine Filmes, cujas inscrições para as 100 vagas disponibilizadas devem ser feitas neste link. O evento segue às 18h30 com um bate papo com o oficineiro Leandro Afonso que fará uma análise do filme, seguida por uma conversa com Thomás Aquino, um dos atores do elenco dessa produção de Kleber Mendonça Filho e Juliano Dornelles. Projeto MIS em Casa (foto: Divulgação) O projeto MIS em Casa, que teve início no dia 17 de março em parceria com o #Culturaemcasa, já contou com palestras sobre diversos temas, conduzidas pelo velejador Amyr Klink, o fotógrafo Martin Parr e o músico Nando Reis. Segundo nos informou o setor de comunicação do MIS, a programação da próxima semana ainda não está definida. SPCine Play (grátis) A dica vem do ator e produtor Daniel Torres, que recentemente conversou com o Viagem em Pauta para dar sugestões de eventos culturais online. A SPCine Play, via aplicativo Looke, disponibiliza filmes como documentários e clássicos do cinema produzido no Brasil. O acervo pode frustrar quem procura blockbusters nacionais, mas o acervo tem clássicos como ‘Pixote’, ‘O Beijo da Mulher Aranha’ e ‘A Dama Do Cine Shanghai’. foto: Reprodução No site da única plataforma pública de streaming do Brasil, as obras estão separadas por temas, com opções de filmes da “Mostra Internacional de Cinema”, dos festivais “É Tudo Verdade” e “In Edit”, e diretoras como Lucia Murat, Tata Amaral e Helena Ignez. VEJA TAMBÉM: “Shows, espetáculos e eventos culturais online (e gratuitos): artistas dão dicas” Festival É Tudo Verdade (grátis) Com a pandemia de coronavírus, esse tradicional festival de documentários, criado e dirigido por Amir Labaki, terá sua edição 2020 em formato digital. Com cerca de 50 horas de exibição de filmes nos sites do Itaú Cultural e Spcine, a 25ª edição terá programação até o próximo dia 5 de abril (domingo) com 30 títulos de produções não-ficcionais (longas-metragens, curtas e séries). Clique na imagem para ver a programação (foto: Reprodução) “Realizar o ‘É Tudo Verdade 2020’ on-line é uma iniciativa inédita, que a equipe do festival e nossos patrocinadores e parceiros abraçaram com todo empenho como gesto de solidariedade social frente às restrições também inéditas à vida cotidiana em todo o Brasil”, definou, em nota, Amir Labaki. Em nota, a produção do evento informa que o festival presencial volta para o circuito em São Paulo e Rio de Janeiro, entre os dias 24 de setembro e 4 de outubro, com projeções de títulos inéditos das mostras competitivas e dos programas especiais, além dos tradicionais debates e palestras. Petra Belas Artes (R$ 10,90/mês) Referência no circuito de filmes de arte, o cinema Belas Artes de São Paulo, inovou como o primeiro cinema do Brasil a contar com um serviço de Video On Demand. Os filmes são divididos por temas curiosos e auto-explicativos como “Se você nunca viu um filme cult, comece por aqui”, “Para roer as unhas”, “Hahaha” e “‘Preparem seu lenços”. foto: Reprodução No canal do serviço no Youtube é possível também acompanhar vídeos com os últimos títulos disponíveis, no “Seu Cardápio Semanal” com comentários de André Sturm, curador do Belas Artes. Mubi (pago) Com a promessa de disponibilizar um filme por dia, essa plataforma de filmes de arte tem assinaturas a partir de R$19,90 ou locação por filme a R$12,90. FOTO: Reynermedia/Flickr-Creative Commons O catálogo de clássico e filmes independentes é bastante reduzido, com apenas 30 títulos por período, mas conta com um seção para aluguel com mais de 50 opções. LEIA TAMBÉM: “Artistas dão dicas de discos para viajar em casa, em tempos de pandemia” OUTROS Oldflix: Clássicos do cinema de diferentes gêneros, de Bruce Lee a Woody Allen (a partir de R$ 12,90/mês) Looke: São mais de 12 mil títulos, entre lançamentos, clássicos, documentários e shows. (R$ 16,90/mês ou locação a partir de R$ 1,89) Google Play: Diversos títulos e gêneros para locação, a partir de R$ 3,90, com locação que expira em 30 dias ou 48 horas após o início do filme. Imagem de Andrés Rodríguez por Pixabay Globoplay: TV ao vivo, séries, novelas e programas produzidos pela TV Globo, além de conteúdo internacional (R$ 22,90/mês) Telecine Play: São mais de 2 mil títulos, entre blockbusters e produções nacionais. (R$ 37,90/mês) Netflix: Maior plataforma de streaming do mundo com boa variedade de títulos, entre séries, documentários e filmes. (a partir de R$ 21,90/mês) O post Cinema em casa: confira eventos de cinema e dicas de sites para streaming de filmes apareceu primeiro em Viagem em Pauta. Read the full article

#viagemempauta

[adventuresinlibraries]

Work with Simple Machines

Photo from Winkbooks.net

DK How Machines Work: Zoo Break 

Written and Illustrated by David Macauley

Published by Penguin Random House 

2015

Won the Royal Society’s Young People’s Book Prize

American Institute of Physics Science Writing Award for Writing for Children (2016)

Meet Sloth and Sengi, two zoo animals who are bored with captivity. In this ingenious introduction to simple machines, kids can use pop up components to conduct hands-on-experiments and engage in scientific inquiry while they help the main characters escape. 

The characters in the story experiment with creating different devices to free themselves, first trying to wedge open a door, then trying to get over the fence with a lever and even later, building a flying machine! This problem and solution structure is enhanced by the hands-on attributes and allows children to extrapolate, asking questions and running their own experiments with Sengi and Sloth.

This book is directed toward children in grades 2-5. That is about right. The introduction of the manipulative elements will attract children in the younger grades who need a kinesthetic experience in order to grasp how these machines work. Here, readers can use a pop-out plank and a pop-up fulcrum to build a simple lever and pop Sengi and Sloth over the fence. 

Photo courtesy of Amazon.com

And the American Institute of Physics reported that  “Readers interact with the characters and the different types of simple machines. We especially liked the pop-up and removable interactive components in this book, which can be used to introduce children to basic physics and engineering principles or to introduce inquiry science lessons involving simple machines.” 

This interactive narrative non-fiction picture book meets the criteria for non-fiction in the way only David Macauley can. The organizational structure is simple and easy to navigate. Big headings in the top corners of each page like “Inclined to Escape” on page 4 introduces scientific vocabulary children need to know.  The heading is followed by expository text and the language is sophisticated, geared toward the older readers in grades 4-6.

“An inclined plane is essentially a sloped surface. It makes climbing easier by making the climb less steep. Even though the distance is increased, the         effort needed is much less.”

A full-bleed glossary is included on pages 28-29 in case readers need clarification about these terms.

While the language and the story are a key component for the reader it is the pictures and layout that really make this book effective for a wide variety of readers. Information is delivered in small chunks across richly illustrated pages. Small circles and squares are set out from the text and contain illustrations that offer close up details for the reader to analyze such as on page 20 when the concept of a screw is explained in words and pictures. An oval inset shows how to wrap a length of hose around a stick, taking advantage of the qualities of the inclined plane to make an Archimedes Screw that moves water. The simple illustration makes the complicated concept clearer. 

The illustrations are whimsical, with lots of little lines to demonstrate detail and movement and a muted palette of colors, greens and greys and browns that keep the busy pages from becoming overwhelming.

Photo: Hadley Roberts, (2019)

The other reason I love this book is the subtle payoff kids get from lifting flaps and digging deeper into the content. On the page about the Archimedes screw, the name Archimedes is only found by lifting up a flap that looks like Sloth. Inside a fold-out explains how screw pumps have been found throughout history, designed by Archimedes but also possibly found in Babylon.

On the page before a similar flap uses tiny pictures to explain exactly how fluid functions in a hydraulic pump.

The simple text reads “Fluid is pumped from the top of the hydraulic cylinder. The piston is shortened by the fluid which moves the boom down.” Arrows guide the reader through the process, offering further visual clues, even though the language is fairly simple and the glossary exists to clear up the more complex terms.

Yet another booklet explains gears. And in this one, a subtle background of graph paper lends a feel of authority and a dash of the engineering environment to the concept.

But the characters of Sloth and Sengi lend whimsy and fun to the serious concepts. Sight gags like Sloth explaining that he’s  “not cut out for this” while he is pictured sawing a board adds age-appropriate humor to the mix.

The characters are pretty flat, They have simple personalities. Sengi is the brainy one who always innovates and Sloth is the funny, one but this is done intentionally so that the reader doesn’t get too wrapped up in the narrative and instead focuses on the machines and their own interactive role in the story.

The book culminates with Sengi masterminding a major build, a complex machine that combines all the elements discussed throughout the book. The foldout drawing of Sengi’s machine is enormous, About two feet by one and a half feet. It uses numbered arrows to direct the reader and though it lacks text this encourages the reader to think carefully about each aspect of this giant device. 

This book would be a great addition to a center in a classroom and could be further enhanced with the edition of a table full of objects, Keva planks, twine, pulleys, cardboard and pegs, sticks, and Lincoln logs that could be used to extend the play this book encourages. 

Books to pair with this include:

Gizmos and Gadgets: Creating Science Contraptions That Work (And Knowing Why)

by Jill Frankel Hauser

Williamson Books, Nashville Tennessee 

1999

  This is an older book but science never goes out of style. An activity book with instructions for 50 working contraptions to play with. I love this book because it uses simple everyday objects to explain science concepts, like on page 32 “You can learn a lot about friction by exploring the soles of footgear. Check out these shoes and think about their uses: basketball shoes, hiking shoes, cleated shoes for baseball and soccer, ballet slippers, rain boots, and skates.”

The black and white illustrations are simple and easy to follow. An index and back matter suggest more books to turn to for ideas.

Cao Chong Weighs an Elephant

By  Songju Ma Daemicke

Illustrated by  Christina Wald

Best STEM Books of 2018 for K-12 Selection by NSTA, ITEEA & CBC Outstanding Science Trade Books Selection of 2018 by NSTA & CBC Notable-Social-Studies books of 2018 selection by NCSS &CBC A Mathical Honor Books of 2018 by MSRI, NCTM & CBC< Children's Book Council "Book Power" Showcase selection

This book tells the classic Chinese tale of a child prodigy and his unique solution to a scientific problem.

The Frank Einstein Series

Author: John Scieszka

Illustrator: Brian Biggs

Publisher: Penguin Random House

Science-tinged fiction for the 7-10 set

Kid inventor Frank Einstein and his two robots, Klink and Klank mix science, adventure, and slapstick into this entertaining set of six books.

For older kids who are exploring these concepts this YA biographical fiction about Archimedes sounds like a snorer. but it is really not!The Sand Reckoner by Gillian Bradshaw is worth a look! I read for two days straight and couldn’t put it down.

#picture book #non-fiction #interactive #Science #physicsforkids #David Macauley

[sebastiankurz]

A look at some top Products from the best European Interior Designers

After having a look at some top products from some of the greatest interior designers from the USA, we now turn our focus towards European talents, among them the UK, France, Italy among many other relevant names. Join us into this new journey through some of the best talents in design that this continent has ever seen.

Kelly Hoppen

  The Ottoman bench is one of the highlights of Kelly Hoppen’s career.  It is enormously versatile and works as a perfect footstool or additional seating in any room. The wooden table piece attached also slides across the top adding a further useful function as well.

  Philippe Starck

  Citrus-squeezer in aluminium casting, mirror polished.‎  A truly iconic object and symbol not only of Philippe Starck but of Alessi itself, this citrus squeezer – as revolutionary as it is surprisingly functional – was sketched in its essentials by Starck during a holiday by the sea in Italy, on a pizzeria napkin.‎

  David Chipperfield

The Fayland product family was designed by David Chipperfield in collaboration with the furniture manufacturer e15 and comprises a dining table, a coffee table, a bench, a stool and a sideboard. All items of the family are made from solid wood. The Fayland dining table was originally developed for Fayland House, a residential project in the English countryside. It is essentially a modern and versatile farmhouse table, characterised by the pure use of material coupled with a clear and elegant design.

  Alberto Pinto Studio

  Alberto Pinto Interior Design appropriates the eclectic taste of its international clientele in adjusting its decors to each of their desires all the while adding elegance which creates a balance within such opulence. The main example here is the Tres Ilhas table which is composed of three nesting tables in brown horn marquetry and gilded natural horn fillets.

  Zaha Hadid

  Referencing Zaha Hadid’s design process, with each new project, Zaha Hadid Design (ZHD) continues to examine its significance within the dialogue of contemporary design. ZHD interprets both the present and the future, by continuing to share Hadid’s story with the public, as it did at the latest edition of Maison et Objet, where the brand showcased its latest collection featuring innovative trays.

You may also like: Milan Design Week: here are some of the top designers and showrooms

Jean Nouvel

  Designed for the fit-out of the Foundation Cartier offices in Paris, the Less range has become a major reference in the history of contemporary design. Jean Nouvel wanted to add a sympathetic furniture range to the architecture of the Foundation Cartier, which is distinguished by its transparency and dematerialisation, and so he proposed a silent furniture system that’s simply elegant, free of any rhetorical flourishes.

  Álvaro Siza Vieira

  The extraordinary thing about the Flamingo cannot be appreciated in photographs, nor even in detailed design plans.‎ What distinguishes it from any other lamp is its use.‎ Its unusual height, the quality of its light, the neutrality and apparent fragility of its variable and detachable structure, the mobility of its very delicate wings, all allow for unsuspected uses.‎

You can also check out: Check out some of the best interior design trends of the USA

Karim Rashid

  The Voxel Chair is a minimal, simple yet voluminous stackable chair that is faceted just in the perfect places for comfort, just in the right angles for hyper-strength, imbuing the correct creases for beauty, and just the few merging and converging lines for purity.

  Patricia Urquiola

  One of the best design accomplishments by Patricia Urquiola is the Fjord chairs. This chair becomes an armchair and then stool. Its broken form and abstract concept together become an object of design: smooth lines that support and envelop are picked out in decorative stitching in harmony with the essence of the chair’s structure.

  Antonio Citterio

  The acclaimed designer Antonio Citterio has launched an outdoor collection in partnership with B&B Italia. Featuring a textile design inspired by traditional South American fabrics, Ribes is a flexible new outdoor seating system that can be customized to different settings and tastes.

  Marcel Wanders

  Extraordinary iconic furniture, lighting and home accessories define the pieces by Moooi. These versatile works are eclectic, playful, surreal and explore the complete scope of Marcel Wanders’ signature design, especially the Rocking Chair. Marcel Wanders envisions and creates a giant rocking O-shaped seat with an identity of its own.‎ As big as a person and available in various elegant colour nuances, it rocks!

  Piet Boon

  Inspired by the shape of the iconic Piet Boon KLINK side table, the OLLE designer furniture series is infused with the same non-geometric contour. The generous proportioned OLLE dining-and more accessible bistro table is the first table design to not have a head to the table, enabling users to sit intuitively and making everyone equally important.

★

SUBSCRIBE HERE TO OUR NEWSLETTER

and get the latest news about some Top Products from great European Interior Designers as well as some other inspirational topics in the world on furniture and interior design! Feel free to follow us on social media for more inspiration: Instagram | Pinterest

★

from Sebastian Kurz Blog https://www.designbuildideas.eu/look-products-best-european-interior-designers/

[itsworn]

Rain Couldn’t Damp the Enthusiasm of Nearly 400 Drag Racers at the 2018 Meltdown Drags

After we flew five hours from Los Angeles to Chicago, news of a weather front moving through the Great Lakes Region wasn’t what we wanted to hear. Pressing forward up I-90 in afternoon traffic towards Byron, Illinois, to attend the Ninth Annual Meltdown Drags, our thoughts were with past Meltdown events and how much fun we’d had covering them. In today’s structured world of motorsports, the Meltdown Drags are something of a rarity. No eliminators, no record runs or qualifying brackets, no huge cash payouts or trophies. And above all, no whining. The basic premise is just go out there, be safe, and have fun!

Sanctioned by Vintage Drag Racing 101 and manned by such dedicated Midwestern gasser enthusiasts as Eric and Jeff Koopmeiners, Paul Zielsdorf, Art Zangerle, Tom Bucek, Steve Liberto, and “Smokey Moe” Petersen, the Meltdown Drags also features a car show, a swap meet, and Gasser Alley, where you may run across a vintage gasser or altered on display from the bygone era. Heck, there is even a pinup-girl contest, won this year by Cassandra Hicks.

The event also attracts its share of luminaries from back in the day, including featured guests Ed “the Cam Father” Iskenderian and gasser great Robert “Bones” Balogh, along with former Funny Car stars Arnie “Farmer” Beswick, Hawaiian and Chi-Town Hustler driver Ron Colson, Randy “Super Nova” Walls, ex-Ramchargers Top Fuel driver Merek Cherktow, and fuel altered star Gabby Bleeker.

This year, 390-plus entrants who braved the weather represented groups like the Scott Rods AA/Gassers, Great Lakes Gassers, Brew City Gassers, Nostalgia Gasser Racing Association, Southern Outlaw Gassers, Northern Indiana Gassers, Geezer Gassers, Southeast Gassers, Southern Gassers, Mid American Willys Club, Straight Axle Mafia, Twisted Pistons, Tin Butchers, Nostalgia Super Stocks, Border Bandits, Gopher State Timing Association, No Car Club, and others. Talk about a slice of vintage drag racing Americana!

Strip promoter and track owner B.J. Vangsness and his crew had to fight 3 inches of rain on Friday repeatedly prepping the track a whopping 12 times, but they were not to be deterred. As for the racing itself, it became necessary to shorten the measured distance from a quarter to an eighth of a mile on both Friday and Saturday for safety reasons (racing late into both nights). But none of the 10,374 spectators (which included visitors from Sweden, Australia, and Great Britain) seemed to mind, as the actual show itself was on the starting line. Then with a dry track surface, quarter-mile racing resumed on Sunday.

Meltdown 2018 was a rousing success in spite of Old Man Weather. If you like what you see here, start making plans to attend the 10th anniversary edition of the Meltdown Drags July 19-21, 2019.

On the Back Bumper The unofficial wheelstander award went to Don Moyer and his 401 AMC–powered, (that’s right) Rebel Reaper fiberglass B/Gas 1941 Willys coupe. He pulled bumper-dragging wheelies on every run.

(Not) the Pits Come hell or (almost literally) high water, the Meltdown Drags pits were bustling with activity throughout the weekend. More than 390 competitors participated in front of a record attendance of 10,374 spectators.

Off-Track Action The swap meet and car show areas at Meltdown 2018 also had plenty for the fans to see and buy.

Past Gas Minnesotan John Zechbauer rolled up with the restored Lutz & Lundberg 1941 Willys B/Gasser. This was L&L’s breakout car. In the early to mid 1960s, the famed gasser team also raced Anglias and a very weird and wonderful altered-wheelbase Oldsmobile Funny Car named 442 Much.

First Out Winnipeg, Manitoba, Canada’s Gary Misko with his red 1937 Willys Americar two-door sedan, and the Long’s Garage 1967 SS396 El Camino, were the first ones down the track during Friday’s rain-delayed eighth-mile drag racing.

Living Legends For the third year in a row, special celebrity guests Ed Iskenderian (left) and Robert “Bones” Balogh signed autographs and sold drag racing memorabilia including hats, T-shirts, and posters.

Twisted Deuce Meltdown fans loved the starting-line gyrations of Gold Chain, the 1932 Ford C/Gasser belonging to Midland, Michigan’s Dave Gray. The coupe, powered by a small-block Chevy engine, ran in the low 10s.

Tailwind This is what it looks like when you are trying to do a respectable burnout with the wind at your back. The event director of Meltdown Drags, Paul Zielsdorf, took a little time out on Sunday to lay down a 10.46/129.00 run.

Off the Map Meltdown Drags board member and all round good guy “Smokey Moe” Petersen poses with some of the European visitors who routinely attend the event.

Street Driven Ex-Ramchargers Top Fuel driver Merek Cherktow warms up the tires on his street-legal, two-seat blown Chevrolet/Bantam. The car is capable of low 8s, although Cherktow struggled with the rain-washed track surface.

Big Beats Small Mark Benjamin, driving the Benjamin, Kasicki & Klink AA/GS 1933 Willys with blown small-block Chevy power, took on Scott Rods’ Al Borowski in a big-block Anglia. This particular heat was won by Borowski, recording a 5.62-second eighth-mile e.t.

Up, Up, and Away Muscle car collector Jim Paulson wheeled the ex–Candies & Hughes-Jake’s Speed Shop altered-wheelbase 1965 Plymouth Savoy past Wally Petersen and his 572-inch AWB 1965 Hemi Dodge Coronet. Paulson ran a best of 10.50/123.00, but since Petersen didn’t file a flight plan with the tower, no times were recorded!

Wheels-Up Chevy David Tanner’s blown small-block, chop-top 1932 AA/G Chevrolet coupe has been a regular at the Meltdown Drags. His wheels-up runs are always popular with the fans.

The Future These two small fries appear to be poised and ready to jump into Junior Dragsters and get with the program. Someday, dad, someday!

Wheelstand Battle The anticipated side-by-side wheelstand showdown between two of the Midwest’s Tri-5 wheelie kings, ex-Chicago police officer Mike Bilina and “Iron Man” Tony Shervino, failed to fully materialize. Timing between the two racers appeared to be the problem because it sure as heck wasn’t the cars.

Classical Gassers Nostalgia Gassers’ Steve Bacon and his Innocent Rascal 1941 Willys B/Gasser squared off against the Lost Wages 1956 Chevrolet B/Gasser of Robbie Roberson in a match that Bacon won.

Ford vs. Chevy Tommy Killingworth’s Miss Fit, a 1963 Ford Fairlane AA/GS running out of the Southern Outlaw Gassers group on pure Ford power, faced Randy Stone’s Bootlegger A/Gas 1955 Chevrolet shoebox, which won this particular heat.

Colson Stude Pitside attractions at Meltdown 2018 included the former Colson & Wood/Scott Hammack AA/Gas 1941 Studebaker coupe. A Pennzoil ad from the March 1963 HOT ROD, which was displayed with the car, extolled back-to-back class records: 11.64/118.42 at Oswego, Illinois, followed by 11.33/131.78 at Cordova. At the wheel was Ron Colson, who also earned fame driving the Chicago Patrol, Hawaiian, and Chi-Town Hustler Funny Car (among others).

Stead(y) vs. Crazy Marty Stead driving the Stead Speed Shop 1941 AA/Gas Willys went off against fellow Scott Rods circuit member Brian Spotts and It’s Crazy, his 1952 AA/G Anglia. Running on a 5.60 index, Stead posted a winning. 5.64 seconds in the eighth-mile.

Black Magic Check out Alex Case’s street-driven 1965 Dodge Coronet. It is powered by a Keith Black alloy Hemi with Stage V twin-plug Hemi heads, twin magnetos, a Danekas blower, and eight (count ’em!) Stromberg carburetors. Unbelievable!

Missing a Few Another oddity to be found in the Gasser Wars display was this blown Chevrolet Hemi V6. We’re not sure about the who, what, or why, but the pintsize Hemi sure drew a lot of attention.

Holeshot In round one of the Scott Rods show, Mike Kalinowski’s Un-Finished Business AA/Gas ’52 Austin took on Jeff Cryan and his wheelstanding 1933 AA/G Willys known as the Phenomenon. Can you guess who won?

Burnin’ and Churnin’ Nostalgia Super Stocks member John Grinwald and his Gold Digger 1965 AWB Dodge put on one heck of a show for Meltdown Drags fans Saturday with eighth-mile smoky burnouts.

Street-Legal Sprint Car Street-Legal Sprint Car: How many times have you seen an old Kurtis sprint car running around town? Well, if you live in the State of Illinois, you might run across this Ford flathead-engined single seater.

Dueling Hemis The ever popular two-car fuel duel: Jim Henry’s Big Iron injected nitro Hemi-powered 1964 Plymouth and Steve Moth’s Bad News 1964-1965 AWB nitro Hemi Dodge traded wins throughout the weekend.

Beating the Bully Rich Maier and his Blacktop Bully 1940 Chevrolet C/Gasser went up against the Mr. Quick’s Speed Shop–sponsored Moon Dust 1965 AWB Plymouth. The Hemi won.

Ultravintage Floyd Craig’s 21-stud, flat-motor-powered D/Altered Model A and Kevin Croise’s similarly powered Ornery Buzzard front-engine dragster are regulars at the Meltdown Drags and underscore the meaning of dragstalgia.

Free Booty A popular feature with Meltdown Drags participants is the prize booth. The racers’ ticket numbers are randomly drawn throughout the event, and they are allowed to select from a bevy of really cool items.

Sincerest Form Paul Brown decided that since he already owned a replica of Doug Thorley’s Chevy 2 Much, why not replicate the former Burgeois & Wade Doug’s Headers Logghe Chassis flip-top Corvair? A close inspection reveals that the car is expertly done, borrowing visual cues from both the B&W car and Thorley’s U.S. National–winning Corvair. Yes, there were two. That’s car owner Brown in the fire suit.

Chip off the Old Block Following in his dad Paul’s footsteps, 17-year-old David Zielsdorf jumped behind the wheel of the family’s 427 big-block 1963 Chevrolet Biscayne on Sunday and hammered out a 12.06/116.00, topping the old man’s personal best by a couple thousandths of a second.

Hot Track Seven-year-old Oliver Bucek mans the Mattel Hot Wheels race track, where every kid who participated got to choose and take home his own Mattel Hot Wheels die-cast miniature.

Broke as Hell According to the shoe polish on the windshield, the “world’s fastest outhouse” Model A runs in the 10s thanks to a 371-inch “Chevy/Olds” V8. Rick Neal’s Possum Killer Garage built the roadster pickup, which now belongs to T.K., Tug, Bo, and Trouble Thompson of the Broke as Hell Garage of Memphis.

Henry Battle Nostalgia Gassers member Tom Peter’s Drag Addict B/Gas 1951 Henry J went up against Nick Nampa’s No Quarter 1951 Henry J B/Gasser. Nampa took the win.

Quicker Than the Auto Club Whenever one of the contestants lost fire, the Meltdown Drags starting line crew was quick to remedy the situation.

The post Rain Couldn’t Damp the Enthusiasm of Nearly 400 Drag Racers at the 2018 Meltdown Drags appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/rain-couldnt-damp-enthusiasm-nearly-400-drag-racers-2018-meltdown-drags/ via IFTTT

#IFTTT #Hot Rod Network

[shiny-poke-edits]

the klinklang line

#shiny #edits #klink #shiny klink #klang #shiny klang #klinklang #shiny klinklang #shiny edits #shiny pokemon #shiny pokemon edits #shiny klinklang line #shiny klinklang line edits

[wildwechselmagazin]

Heiraten in Parookaville – Bewerbungsstart zur einzigen Festivalhochzeit Deutschlands

Heiraten in Parookaville - Ein einmaliges Erlebnis Star-DJ „Alle Farben“ wird als Trauzeuge das glückliche Paar zum Altar führen Warstein, 01.06.2018 – Im vierten Jahr in Folge öffnen sich vom 20. bis zum 22. Juli 2018 die Stadt-Tore von Parookaville. Dann erwartet die über 80.000 Bürger ein einzigartiges Showkonzept in Deutschlands verrücktester Festivalstadt. Das Line-Up des Elektro Festivals am Niederrhein ist auf zehn Bühnen verteilt und mit über 200 Künstlern noch einmal facettenreicher als in den vergangenen Ausgaben. Natürlich darf bei diesem bunten Spektakel die einzige Festivalhochzeit der Republik nicht fehlen, denn in der Warsteiner Parooka Church heißt es auch in diesem Sommer wieder „Ja, ich Parooka-ville!“ – mit echter Standesbeamtin und Alle Farben als Trauzeuge. Die Bewerbung ist ab sofort auf Musikdurstig.de möglich. Ein schrilles Lichtermeer, 80.000 Bürger, zehn Bühnen und das Beste, was elektronische Musik zu bieten hat – die Festivalstadt samt ihrem berühmten Bürgermeister Bill Parooka hat sich in den letzten Jahren zu etwas viel Größerem als „nur“ einem Musikfestival entwickelt. Das einzig geltende Gesetz: „Mögen Wahnsinn, Liebe und pure Glückseligkeit regieren.“ Während sich mit Headlinern wie Axwell Λ Ingrosso, David Guetta, Hardwell, Showtek, Martin Garrix oder Zedd die Weltstars der Dance-Szene auf Europas größter Festivalbühne 2018 die Klinke in die Hand geben, steht mit der Warsteiner Parooka Church ein weiteres Highlight im Zentrum des alten Flughafengeländes. In der Kirche dürfen den Gefühlen freien Lauf gelassen und die Liebe zelebriert werden. Neben unzähligen Festivalehen, die innerhalb der Stadtgrenzen von Parookaville gültig sind, wird mittlerweile zum dritten Mal ein echter Bund fürs Leben geschlossen, zu dem sich heiratswillige Paare ab sofort auf Musikdurstig.de bewerben können. Das Gewinnerpaar mit der überzeugendsten Bewerbung wird vom Veranstalter und der Warsteiner Brauerei Ende Juni gekürt. „Wir freuen uns, dass die Warsteiner Parooka Church zu einem elementaren Bestandteil des Parookaville Stadtkonzeptes geworden ist. Der Mehrwert für Besucher und Veranstaltung steht dabei im Fokus der Aktivierung“, erklärt Nadja Gärtner, verantwortlich für Music & Lifestyle Sponsoring der Warsteiner Brauerei. „Darüber hinaus konnten wir mit Frans Zimmer alias Alle Farben einen der momentan gefragtesten deutschen DJs als Trauzeugen für die echte Hochzeit gewinnen.“ Im Las Vegas-Stil wird das Paar am Festivalfreitag in einer Limousine zur Kirche chauffiert, in der es nicht nur von der Standesbeamtin, sondern auch von Star-DJ und diesjährigem Trauzeugen Frans Zimmer alias Alle Farben empfangen wird. Um das Erlebnis unvergesslich zu machen, sind Freunde und Familie natürlich auch zur Zeremonie herzlichst eingeladen. Nach dem Ja-Wort geht es dann im Musikdurstig Biergarten weiter, in dem mit der offiziellen Festivaldose von Warsteiner angestoßen wird. Die exklusiv für das Parookaville designte Dose gibt es ab sofort in den Geschmacksrichtungen Warsteiner Premium Pilsener und Warsteiner Lemon bei PENNY und natürlich auch auf dem Festival. „Die unzähligen Festivalhochzeiten und die echte Trauung in Parookaville geben den absolut friedlichen Spirit unserer verrückten Festivalstadt perfekt wieder. Sie sind außerdem das Sahnehäubchen einer einzigartigen Kooperation mit der Warsteiner Brauerei, die seit Beginn unserer Partnerschaft ganz individuell die Idee unseres Showkonzepts aufgreift und entscheidend zum unvergesslichen Erlebnis für die Bürger beiträgt“, ergänzt Bernd Dicks, einer der drei Gründer und Veranstalter von Parookaville. Wir freuen uns auf Eure Ankündigung der News! Hochauflösendes Pressematerial haben wir hier für Euch hinterlegt. Über Musikdurstig Musikdurstig ist das Musikportal der Warsteiner Brauerei, das junge Musikbegeisterte über alle Trends der Musikszene informiert. Darüber hinaus schafft Musikdurstig auf jährlich über 50 Festivals und Musikveranstaltungen, wie Time Warp, Parookaville, New Horizons oder dem Melt Festival, einzigartige Musikerlebnisse. Weitere Informationen auf Musikdurstig.de, Facebook.com/Musikdurstig und Instagram.com/Musikdurstig sowie unter #musikdurstig. Warsteiner Brauerei Die Warsteiner Brauerei zählt zu den größten Privatbrauereien Deutschlands. Gegründet 1753, ist sie ein Familienunternehmen in neunter Generation. Die Warsteiner Gruppe umfasst die Herforder Brauerei, die Privatbrauerei Frankenheim, die Paderborner Brauerei sowie Anteile an der König Ludwig Schlossbrauerei. Mittlerweile vertreibt Warsteiner ihre Produkte aktiv in über 50 Länder der Welt. Über PAROOKAVILLE PAROOKAVILLE ist ein in Deutschland einzigartiges Showkonzept und wurde zur Premiere im Jahr 2015 als Festival des Jahres (LEA-Award) und Bestes Festival National (Helga! Award) gekürt sowie als Best Newcomer Festival 2015 bei den European Festival Awards nominiert. 2016 wurde die Anzahl der Besucher auf 50.000 verdoppelt. Die dritte Edition vom 21. bis 23.07.2017 war mit 80.000 Besuchern bereits das größte Electronic Music Festival in Deutschland. Vom 20. bis 22.07.2018 findet PAROOKAVILLE zum vierten Mal auf dem Gelände der ehemaligen Royal Airforce Base auf dem Flughafen Weeze am Niederrhein statt. Für nähere Informationen: Agentur Gemeinsame Sache Steffen Martini Senior Communications Manager Pfuelstraße 5, Berlin 10997 Tel.:  [phone] E-Mail: [email protected] Website: www.gemeinsame-sache.net Warsteiner Brauerei Haus Cramer KG Jens Bergfeld Stellv. Leiter Unternehmenskommunikation Domring 4-10, 59581 Warstein Tel.: [phone] E-Mail: [email protected] Website: www.warsteiner.de » 20 - 22.7.2018, Heiraten in PAROOKAVILLE Read the full article

#HeirateninParookaville #Musikdurstig #Parookaville #Pressetext #Warstein #WarsteinerBrauerei

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[somefunnyshits]

Travis Scott: Hip-Hop&#039;s King of Chaos

We follow hip-hop sensation Travis Scott on tour, as he masterminds wild shows, works on new music in his bus and FaceTimes girlfriend Kylie Jenner.Ahmed Klink/ © Sunday Afternoon

Travis Scott bursts into his dressing room on a scooter, trailing assorted entourage and radiating the rich aroma of good weed. He makes for a catering table lined with Fruit Roll-Ups, Honey Buns, Lucky Charms and – for good measure – two bottles of Don Julio 1942 tequila. He's at the Oracle Arena in Oakland, about to face a sold-out crowd. "Let's get this bitch turnt!" he yells at no one in particular, letting the scooter fall to the carpet. Scott's manager, David Stromberg, brings Scott's attention to a dry-erase board, tucked behind a curtain, where a basketball play has been diagrammed in marker. Oracle is home to the Golden State Warriors, and Stromberg says that the Cleveland Cavaliers used this space as their locker room during the finals in June. The diagram, titled "BRON ISO," contains LeBron James–centric directives such as "KYRIE PASS IT" and "JR GET THE FUCK OUT THE WAY." "This is, like, the last thing Tyronn Lue wrote," Stromberg says, referring to the Cavs' coach. Scott, taking it in, laughs hard. " 'Get the fuck out the way!' " he cries.

Related

Watch Travis Scott's New Short Film Featuring Kanye West, Puff Daddy

Seth Rogen, Migos' Quavo, producer Mike Dean and more make cameos in 'La Flame'

He's winding down a 20-show tour opening for Kendrick Lamar. Originally from Houston, Scott rolled into the Bay Area early this morning, following a show in Vancouver. He spent all of today holed up on his bus, he tells me, working on new tracks that might wind up on his next album: "Just chillin', recording. Formulating a story, the picture I'm trying to paint. It's fun making music on the road – I got a whole studio bus." He plops down on a couch, gets lost in his phone. "The energy's been a little strange show-to-show on this tour," Stromberg says. "I mean, Travis brings the energy, but there's been seating at every show. He wants to get his fans onstage and get them to stage-dive – but there's chairs." He theorizes that "it's a numbers thing – I think you can sell more tickets when you do seats than when you do general admission." Scott says, "I can't speak to that," but confirms that he prefers the unmanaged vibe of a big, chair-free pit, where crowds can more readily cut loose: "Pffft," he says. "I'm never doing a tour with seats again." "Travis' fans are a little younger," Stromberg continues. "Kendrick's are a little older, and they're here for" – he throws up air quotes – " 'real hip-hop.' "

Stromberg is drawing a distinction between Lamar's dense, classicist virtuosity and what Scott does best, which is different: deliver simple, beguiling phrases about partying and drugs in an Auto-Tuned singsong over hard-edged, low-lit beats. It's a style you hear everywhere in hip-hop these days, from Migos to Future. It's also a style that Scott – whose debut mixtape, Owl Pharaoh, came out in 2013, the same year he worked behind the scenes with Kanye West on Yeezus – helped pioneer.

Scott has been on a roll ever since. He's dating Kylie Jenner. (And, it turns out, having a kid with her, according to TMZ reports published after our interview.) He has co-written or co-produced songs not only with West but also Rihanna (whom he's also rumored to have dated) and Madonna. His albums Rodeo and Birds in the Trap Sing Mc-Knight mix pop impulses – honeyed, hypnotic hooks – with irregular structures and droning flows that verge on avant-garde. Both are platinum, and they've both produced platinum singles, like the narcotic "Antidote" and the Lamar-assisted "Goosebumps."

Scott has also become known for a live show so raucous that – if you believe law enforcement, anyway – it's literally criminal. He was arrested this past May, after a show in Rogers, Arkansas, on charges of inciting a riot for encouraging fans to rush the stage. Police say that several people were injured, among them a security guard and a cop. (Scott, who pleaded not guilty, faced similar charges in 2015 following a concert in Chicago.) Shortly before the Arkansas show, Scott encouraged a fan at a New York concert to jump down from a second-floor balcony, before ordering audience members to form a human net to catch him. A different fan fell from the third-story balcony and reportedly wound up with a broken leg, but charges weren't filed.

When I ask Scott if the Arkansas incident has changed his behavior onstage, he answers without a moment's thought. "It hasn't," he says. "People gotta understand, sometimes shit gets out of control. I'm not trying to cause no harm – I just perform." He thinks for a second, then muses about a potential solution: getting even more popular than he already is. "I think I just gotta get into bigger spaces, have more space to get it in. Try to prevent some of that shit. I just wanna bring the stage to, like, the masses. I feel I have a show for the masses. It's probably at a point now where your uncle might know Travis, you know?"

Scott with girlfriend Kylie Jenner.Bob Levey/Getty Images

On one hand, Scott has taken such troubles as a publicity opportunity. After the Arkansas arrest, he sold fans a limited-edition T-shirt printed with his mug shot and the slogan "Free the rage." (Scott likes the word "rage," whether he's describing a cathartic onstage outlet or calling his devotees "ragers.") But there's an element of the negative attention that he doesn't like, too. "I wanna be recognized for some of the good shit I do," he says. Such as, he goes on, the enormous animatronic eagle that he had commissioned for his live shows, which looks a bit like a Henson creation, and which he rides above the stage, wings beating. "Man, I got a flying bird out here!" he says. "Name someone that's 25 doing that shit."

There's something childlike about Scott. The Rodeo album art and the music video for his single "90210" featured a poseable Travis Scott action figure. (In an un-childlike detail, it engages in some graphic action-figure boning before the video's through.) You can buy the action figure yourself, although the original run sold out, which means shelling out hundreds of dollars for one on eBay.

Scott says he was inspired to make the animatronic bird after he paid a visit to Legoland in San Diego. He's a big theme-park fan, to the extent that he's also been to the Denmark Legoland and titled his next album AstroWorld after a now-defunct park he used to visit in Texas. "It had a Dungeon Drop, Greezed Lightnin', Superman," he recalls. "It was a way of life – fantasies, imagination." AstroWorld doesn't have a confirmed release date yet, but Scott says that whenever the accompanying tour happens, he wants his concerts to double as bona-fide amusement parks, with rides encircling him as he performs. "I don't know why it hasn't been done already – I think people just don't do shit. Who makes stages these days that are cool?"

Scott was born Jacques Webster – his stage name was inspired by an uncle – and grew up in Missouri City, a middle-class Houston suburb. His father was an entrepreneur, his mother an Apple employee. When Scott was three years old, his dad bought him his own drum kit, which he played, as well as the piano, before quitting the latter, deciding that it couldn't help him get girls, whereas drum skills, which translated to beatmaking, would. As he puts it, "I was trying to fuck bitches, make beats, get fresh."

In high school, Scott acted in a local theater troupe. "I was a thespian, bruh," he recalls. "I was in this play Kiss Me, Kate – you heard of that? I did Oliver! I love that type of shit. I love drama." Scott's current DJ, Chase B, tells me they have been friends "since we were nine," adding that Scott "was a super-creative kid. When he acted in plays, he would always be the lead – that charisma was already showing through."

Scott's mug shot from this arrest in May.Rogers Police Department

Today, Scott directs his own music videos, a predilection he ties to a lifelong love of auteurs like John Hughes, Quentin Tarantino and Robert Rodriguez. "My favorite movie was The Breakfast Club," Scott says. "You ever seen Spy Kids? Nigga, that shit is crazy." When it came to music, his early hip-hop influences were flashy New Yorkers like Mase and Cam'ron. They gave way to Kid Cudi and West, who pushed contemporary hip-hop's emotive and melodic quotients into overdrive and eventually inspired Scott to bring grit, pain and darkness to his own music. (He also lists Portishead, Björk, Coldplay and the Sex Pistols among his favorite acts.)

Describing a category-busting creative ambition today, Scott says he wants to try his hand at architecture. He has a dream of studying it at Harvard. Which architects does he admire? "I honestly check for no one," he says. "I'm a master of my own imagination. I go off my own shit. I'm not into deep study – all that, like, reading? That's how shit ends up looking like someone else's shit." He smiles. "You ever see pictures in your head? I be having that all day. It's like a museum. That's why I don't do too many drugs, because my brain would explode. I'm my own drug. If I bleed and someone licked my blood, it's like liquid MDMA – know what I'm saying?"

You get a sense of what he's talking about when he takes the Oracle stage tonight, mounting his eagle and soaring high above the crowd, and shrieking, "My name is Travis Scott, and I like to fucking rage!" Stromberg, standing beside me in the center of the floor, says that in their ideal version of the show "the bird would be flying directly over the crowd," though the insurance logistics have proved insurmountable. Still, Scott likes pushing up against the constraints he's been given: "Security, we not stopping the fans from having fun tonight!" Scott bellows. "It's time to stand on top of these motherfucking chairs!"

Back in his dressing room some 45 minutes later, he tears his sweaty T-shirt off and stalks the floor, revved up. He walks over to a fridge, cracks a Powerade and chugs it. Stromberg pops his head in the doorway to announce a visitor. "Jack Dorsey, the CEO of Twitter, would like to say hi." Dorsey, dressed in a Bieberish ensemble of skinny jeans and extra-long T-shirt, enters. "I didn't think I'd ever meet you," Scott tells him.

"f I bleed and someone licked my blood, it's like liquid MDMA," Scott says.Christopher Polk/Getty Images

"Thanks for your music – and for using Twitter," says Dorsey.

"What you got going on tonight?" Scott asks.

"This," Dorsey replies.

"Nigga, Kendrick be going brazy," Scott observes.

"... Yes," Dorsey tentatively agrees.

After Dorsey leaves with some complimentary merch, Scott FaceTimes Jenner. The two have kept the details of their relationship under wraps, but butterflies seem to be part of it: They both got matching butterfly tattoos; his newest single, which makes numerous seeming allusions to Jenner, is called "Butterfly Effect"; and he recently bought her a reported $60,000 diamond chain, shaped like the insect, for her birthday.

Her face pops up on his iPhone screen, nestled into a pillow. "I just got offstage," he tells her. "I miss you. I love you."

"How was it?" she asks. "Good. I'm tired. I smoked a lot of weed."

Members of Scott's entourage start loudly poking fun at Stromberg – apparently there was some sort of pushup challenge earlier, and some of the guys have jokes about his abilities. The clowning distracts Scott, who puts Jenner on mute so he can more fully partake. "Did you put me on mute?" she asks. "Nah, I didn't put you on mute – it was just a sound delay," he says, chuckling. Someone likens Stromberg's pushup style, absurdly, to that of Mr. Potato Head, at which point Scott cracks up, falls to the floor, drops the phone, keeps laughing – and then seemingly forgets about the call. A minute later, he stuffs the phone into his pocket. I can see that Jenner is still connected. He directs his crew to the tour bus. It's a nine-hour drive to Las Vegas, site of tomorrow's show. "Let's roll out!" Scott cries, and they're gone.

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[somefunnyshits]

We follow hip-hop sensation Travis Scott on tour, as he masterminds wild shows, works on new music in his bus and FaceTimes girlfriend Kylie Jenner.Ahmed Klink/ © Sunday AfternoonTravis Scott bursts into his dressing room on a scooter, trailing assorted entourage and radiating the rich aroma of good weed. He makes for a catering table lined with Fruit Roll-Ups, Honey Buns, Lucky Charms and – for good measure – two bottles of Don Julio 1942 tequila. He's at the Oracle Arena in Oakland, about to face a sold-out crowd. "Let's get this bitch turnt!" he yells at no one in particular, letting the scooter fall to the carpet. Scott's manager, David Stromberg, brings Scott's attention to a dry-erase board, tucked behind a curtain, where a basketball play has been diagrammed in marker. Oracle is home to the Golden State Warriors, and Stromberg says that the Cleveland Cavaliers used this space as their locker room during the finals in June. The diagram, titled "BRON ISO," contains LeBron James–centric directives such as "KYRIE PASS IT" and "JR GET THE FUCK OUT THE WAY." "This is, like, the last thing Tyronn Lue wrote," Stromberg says, referring to the Cavs' coach. Scott, taking it in, laughs hard. " 'Get the fuck out the way!' " he cries. RelatedWatch Travis Scott's New Short Film Featuring Kanye West, Puff Daddy Seth Rogen, Migos' Quavo, producer Mike Dean and more make cameos in 'La Flame' He's winding down a 20-show tour opening for Kendrick Lamar. Originally from Houston, Scott rolled into the Bay Area early this morning, following a show in Vancouver. He spent all of today holed up on his bus, he tells me, working on new tracks that might wind up on his next album: "Just chillin', recording. Formulating a story, the picture I'm trying to paint. It's fun making music on the road – I got a whole studio bus." He plops down on a couch, gets lost in his phone. "The energy's been a little strange show-to-show on this tour," Stromberg says. "I mean, Travis brings the energy, but there's been seating at every show. He wants to get his fans onstage and get them to stage-dive – but there's chairs." He theorizes that "it's a numbers thing – I think you can sell more tickets when you do seats than when you do general admission." Scott says, "I can't speak to that," but confirms that he prefers the unmanaged vibe of a big, chair-free pit, where crowds can more readily cut loose: "Pffft," he says. "I'm never doing a tour with seats again." "Travis' fans are a little younger," Stromberg continues. "Kendrick's are a little older, and they're here for" – he throws up air quotes – " 'real hip-hop.' " Stromberg is drawing a distinction between Lamar's dense, classicist virtuosity and what Scott does best, which is different: deliver simple, beguiling phrases about partying and drugs in an Auto-Tuned singsong over hard-edged, low-lit beats. It's a style you hear everywhere in hip-hop these days, from Migos to Future. It's also a style that Scott – whose debut mixtape, Owl Pharaoh, came out in 2013, the same year he worked behind the scenes with Kanye West on Yeezus – helped pioneer. Scott has been on a roll ever since. He's dating Kylie Jenner. (And, it turns out, having a kid with her, according to TMZ reports published after our interview.) He has co-written or co-produced songs not only with West but also Rihanna (whom he's also rumored to have dated) and Madonna. His albums Rodeo and Birds in the Trap Sing Mc-Knight mix pop impulses – honeyed, hypnotic hooks – with irregular structures and droning flows that verge on avant-garde. Both are platinum, and they've both produced platinum singles, like the narcotic "Antidote" and the Lamar-assisted "Goosebumps."Scott has also become known for a live show so raucous that – if you believe law enforcement, anyway – it's literally criminal. He was arrested this past May, after a show in Rogers, Arkansas, on charges of inciting a riot for encouraging fans to rush the stage. Police say that several people were injured, among them a security guard and a cop. (Scott, who pleaded not guilty, faced similar charges in 2015 following a concert in Chicago.) Shortly before the Arkansas show, Scott encouraged a fan at a New York concert to jump down from a second-floor balcony, before ordering audience members to form a human net to catch him. A different fan fell from the third-story balcony and reportedly wound up with a broken leg, but charges weren't filed. When I ask Scott if the Arkansas incident has changed his behavior onstage, he answers without a moment's thought. "It hasn't," he says. "People gotta understand, sometimes shit gets out of control. I'm not trying to cause no harm – I just perform." He thinks for a second, then muses about a potential solution: getting even more popular than he already is. "I think I just gotta get into bigger spaces, have more space to get it in. Try to prevent some of that shit. I just wanna bring the stage to, like, the masses. I feel I have a show for the masses. It's probably at a point now where your uncle might know Travis, you know?"Scott with girlfriend Kylie Jenner.Bob Levey/Getty ImagesOn one hand, Scott has taken such troubles as a publicity opportunity. After the Arkansas arrest, he sold fans a limited-edition T-shirt printed with his mug shot and the slogan "Free the rage." (Scott likes the word "rage," whether he's describing a cathartic onstage outlet or calling his devotees "ragers.") But there's an element of the negative attention that he doesn't like, too. "I wanna be recognized for some of the good shit I do," he says. Such as, he goes on, the enormous animatronic eagle that he had commissioned for his live shows, which looks a bit like a Henson creation, and which he rides above the stage, wings beating. "Man, I got a flying bird out here!" he says. "Name someone that's 25 doing that shit." There's something childlike about Scott. The Rodeo album art and the music video for his single "90210" featured a poseable Travis Scott action figure. (In an un-childlike detail, it engages in some graphic action-figure boning before the video's through.) You can buy the action figure yourself, although the original run sold out, which means shelling out hundreds of dollars for one on eBay. Scott says he was inspired to make the animatronic bird after he paid a visit to Legoland in San Diego. He's a big theme-park fan, to the extent that he's also been to the Denmark Legoland and titled his next album AstroWorld after a now-defunct park he used to visit in Texas. "It had a Dungeon Drop, Greezed Lightnin', Superman," he recalls. "It was a way of life – fantasies, imagination." AstroWorld doesn't have a confirmed release date yet, but Scott says that whenever the accompanying tour happens, he wants his concerts to double as bona-fide amusement parks, with rides encircling him as he performs. "I don't know why it hasn't been done already – I think people just don't do shit. Who makes stages these days that are cool?"Scott was born Jacques Webster – his stage name was inspired by an uncle – and grew up in Missouri City, a middle-class Houston suburb. His father was an entrepreneur, his mother an Apple employee. When Scott was three years old, his dad bought him his own drum kit, which he played, as well as the piano, before quitting the latter, deciding that it couldn't help him get girls, whereas drum skills, which translated to beatmaking, would. As he puts it, "I was trying to fuck bitches, make beats, get fresh." In high school, Scott acted in a local theater troupe. "I was a thespian, bruh," he recalls. "I was in this play Kiss Me, Kate – you heard of that? I did Oliver! I love that type of shit. I love drama." Scott's current DJ, Chase B, tells me they have been friends "since we were nine," adding that Scott "was a super-creative kid. When he acted in plays, he would always be the lead – that charisma was already showing through." Scott's mug shot from this arrest in May.Rogers Police DepartmentToday, Scott directs his own music videos, a predilection he ties to a lifelong love of auteurs like John Hughes, Quentin Tarantino and Robert Rodriguez. "My favorite movie was The Breakfast Club," Scott says. "You ever seen Spy Kids? Nigga, that shit is crazy." When it came to music, his early hip-hop influences were flashy New Yorkers like Mase and Cam'ron. They gave way to Kid Cudi and West, who pushed contemporary hip-hop's emotive and melodic quotients into overdrive and eventually inspired Scott to bring grit, pain and darkness to his own music. (He also lists Portishead, Björk, Coldplay and the Sex Pistols among his favorite acts.) Describing a category-busting creative ambition today, Scott says he wants to try his hand at architecture. He has a dream of studying it at Harvard. Which architects does he admire? "I honestly check for no one," he says. "I'm a master of my own imagination. I go off my own shit. I'm not into deep study – all that, like, reading? That's how shit ends up looking like someone else's shit." He smiles. "You ever see pictures in your head? I be having that all day. It's like a museum. That's why I don't do too many drugs, because my brain would explode. I'm my own drug. If I bleed and someone licked my blood, it's like liquid MDMA – know what I'm saying?" You get a sense of what he's talking about when he takes the Oracle stage tonight, mounting his eagle and soaring high above the crowd, and shrieking, "My name is Travis Scott, and I like to fucking rage!" Stromberg, standing beside me in the center of the floor, says that in their ideal version of the show "the bird would be flying directly over the crowd," though the insurance logistics have proved insurmountable. Still, Scott likes pushing up against the constraints he's been given: "Security, we not stopping the fans from having fun tonight!" Scott bellows. "It's time to stand on top of these motherfucking chairs!"Back in his dressing room some 45 minutes later, he tears his sweaty T-shirt off and stalks the floor, revved up. He walks over to a fridge, cracks a Powerade and chugs it. Stromberg pops his head in the doorway to announce a visitor. "Jack Dorsey, the CEO of Twitter, would like to say hi." Dorsey, dressed in a Bieberish ensemble of skinny jeans and extra-long T-shirt, enters. "I didn't think I'd ever meet you," Scott tells him."f I bleed and someone licked my blood, it's like liquid MDMA," Scott says.Christopher Polk/Getty Images"Thanks for your music – and for using Twitter," says Dorsey. "What you got going on tonight?" Scott asks. "This," Dorsey replies. "Nigga, Kendrick be going brazy," Scott observes."... Yes," Dorsey tentatively agrees. After Dorsey leaves with some complimentary merch, Scott FaceTimes Jenner. The two have kept the details of their relationship under wraps, but butterflies seem to be part of it: They both got matching butterfly tattoos; his newest single, which makes numerous seeming allusions to Jenner, is called "Butterfly Effect"; and he recently bought her a reported $60,000 diamond chain, shaped like the insect, for her birthday. Her face pops up on his iPhone screen, nestled into a pillow. "I just got offstage," he tells her. "I miss you. I love you." "How was it?" she asks. "Good. I'm tired. I smoked a lot of weed."Members of Scott's entourage start loudly poking fun at Stromberg – apparently there was some sort of pushup challenge earlier, and some of the guys have jokes about his abilities. The clowning distracts Scott, who puts Jenner on mute so he can more fully partake. "Did you put me on mute?" she asks. "Nah, I didn't put you on mute – it was just a sound delay," he says, chuckling. Someone likens Stromberg's pushup style, absurdly, to that of Mr. Potato Head, at which point Scott cracks up, falls to the floor, drops the phone, keeps laughing – and then seemingly forgets about the call. A minute later, he stuffs the phone into his pocket. I can see that Jenner is still connected. He directs his crew to the tour bus. It's a nine-hour drive to Las Vegas, site of tomorrow's show. "Let's roll out!" Scott cries, and they're gone.Let's block ads! (Why?)Posted from: this blog via Microsoft Flow.

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