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#(the exhibit also showed his non color block works and how his style changed over time....so very cool all around)
philharmonica · 9 months
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went to a rothko exhibit and I get it now. everything, not just his art
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itsworn · 6 years
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Best of Both Worlds: 1964 Chrysler 300K
The Chrysler letter car story is well known to the readers of Mopar Muscle. Starting in 1955 with the introduction of the C-300, through to the 300L in 1965, the last of the famed letter cars.
For 1963, the entire Chrysler lineup received extensively restyled exterior sheet metal and on the inside, gone was the electro-luminescent AstroDome instrument cluster, replaced with a much more traditional flat instrument panel. While most Chryslers rode on a 126-inch wheelbase, the two door models of the 300 letter and non-letter cars had a wheelbase that was four inches shorter at 122 inches. The biggest news for Chrysler in 1963 was the introduction of the 5 year/50,000-mile warranty, a move that set Chrysler apart from its competitors.
All the 300J hardtops (the letter “I” was skipped due in part to in that it might be confused with the numeral 1) were equipped the 413-cubic-inch V-8 featuring ram induction, producing 310 horsepower. Top speed was reported to be 142 miles per hour making it one of the fastest production cars in America, in spite of a curb weight exceeding 4,000 pounds. Sales were comparably poor for 1963 with just 400 cars produced as sales of the non-letter 300s continued to grow.
For 1964 the convertible returned to the 300K lineup but the cross-ram 413 became an option, a 300K exclusive not offered on other 1964 Chryslers and the leather interior became an extra-cost option. These moves allowed Chrysler to reduce the base price of the 300K by over $1,000. The results were an eight-fold increase in sale to 3,647 units (3,022 hardtops, 625 convertibles), the largest total in the history of the 300 letter car series.
The car you see here, a 1964 Chrysler 300K two-door hardtop, owned by Michael Laiserin, one of those 3,022 hardtops produced for the 1964 model year, the last of the sixth generation.
Michael marks the start of his car enthusiasm in 1971 when he was just four years old, vividly remembering his Dad shopping for a new Chrysler when he planned to trade in the family sedan, a 1964 Newport he bought new, to his mom who was just learning to drive. “I remember a big blue fuselage-bodied Chrysler on the showroom floor with a white vinyl top and interior, fancy wheels and hidden headlamps,” recalls Michael. “Looking back now I’m sure it was a 300 and kept telling my Dad ‘let’s get that one.’ Being ever so practical Dad insisted on another economical sedan and the salesman took us out into the lot and showed us a Burnished Red Metallic Newport. I didn’t like it and told Dad the wheels were ugly – back then the wheel covers were in the trunk until the cars were prepped – and this car was broken because the left front tire was flat. I remember noticing the unusual, dual-pinstripe whitewalls but remained unimpressed. ‘Dad, let’s get the blue one.’ Of course, we came home with the red one.”
For Michael, the 1964 Newport became somewhat of a plaything as he asked. “Hey Dad, if we still have this car when I’m old enough to drive can I have it?” To which his dad replied, laughing, “Sure why not.”
“Little did he know the path he set me on,” says Michael more than four decades later. “As I got older I learned to tinker on that car, changing oil, brakes, ignition points and more. By the time I was sixteen although the car was still around, I came across a big block ’1970 Charger project. Dad wasn’t a car guy and looked at the basket case with the engine in pieces and figured I couldn’t get into any trouble. He knew he was wrong the first time a cop woke him up in the middle of the night and asked if he wanted me locked up and the car impounded or if he wanted to get dressed and come to get me instead. That ended my street racing activities for the summer and I was headed off to college anyway.”
After college, Michael took the Charger off the road with plans to restore it and while he was collecting parts, came across a 1964 Chrysler 300K convertible. I had never seen a 413 cross-ram engine before and he had to have it. He did the best restoration a 23-year-old could back in 1990 and drove that car to every show he could attend. Soon after he replaced his 383 automatic Charger for a legit, numbers-matching 1970 RT/SE four-speed Charger. Once completed, he packed up his cars and headed west figuring Arizona was the place to be as he could drive his cars year-round and they’d never rust again. As the years went by, he didn’t just add a wife and kids, like so many other car nuts, he added and completed projects that included a 1970 Road Runner with a Gen III Hemi, a 1969 Charger 500, and this 1964 300K hardtop.
“I came across this car sitting on a trailer in the swap section of the Spring Fling in Van Nuys, California,” said Michael. “It was a complete, but rough looking, unrestored car. It was pretty devoid of options as far as luxury cars go, even radio and side view mirror delete. The original window sticker was in a box full of paperwork dating back to before the original owner even purchased the car. There were handwritten notes comparing prices from different dealerships and shows he traded in a Renault to order this “bankers hotrod.” He checked off very few options, just leather trim, a Sure-Grip differential, and the ‘300K special package’ which included the dual four-barrel, cross-ram equipped engine. The paper trail on the car spanned nearly 25 years with receipts for warranty work at the dealership, car washes, and even custom tuning at the famous Granatelli Automotive. I struck a deal for it and the seller trailered it to my my place in Phoenix.”
While I’ve driven it to Mopars at the Strip in Vegas and the Spring Fling in California my favorite trip was attending one of the Chrysler 300 Club International’s events which was held in Monterey, California. The show host arranged for an afternoon gathering at Laguna Seca Raceway where they allowed us all to do some exhibition runs around the course. Not going to miss the chance, with the wife and my three kids (the youngest 10 months old and in a car seat) securely fastened we hit the track for a few laps. I’m confident my girls will be able to say they’re likely the only little girls to have experienced the famous corkscrew in the family show car. Not even Disneyland can compete with that.
“I figured that this car was going to be the bookend to my 300K convertible, only with a modern twist,” explains Michael. “Having owned my ram engine ragtop for over 20 years, I know that even when tuned properly, you’ve got to have a feel for how to drive the dual quads. These were built for the open road and they weren’t exactly civil for cruising around town. The decision was made to retain the ram induction but to add EFI for driveability. A manual trans with overdrive would make cruising fun and overcome the 4.10 gear needed to launch this heavy beast. A hydraulic roller cam would maximize power and alleviate the need to regularly remove the intakes to adjust the valves. Yards and yards of Dynamat lined the floors, roof, firewall and doors to keep things quiet so the kiddies in the car seats could nap on long trips. The original KK1 Silver Turquoise paint color was retained as was the black leather interior. I needed to upgrade the wheels as there was no way 14” tires were up to the task of maintaining adhesion with the road considering all the weight and power involved here. I settled on 18-inch Centerline Boulevard wheels custom-ordered with unpolished centers and they were reminiscent of the 1950s and 1960s kidney-bean-style wheels. Overall I achieved the look I wanted with the car.”
Michael explains that the original Chrysler 300 letter car series helped to spawn the horsepower races of the 1950s and 1960’s. Not classified as muscle cars (defined as a big engine installed in an intermediate or compact car), the big, bruising Chryslers are muscular cars. “Many are restored to stock as owners feel that protects not only their heritage but value also,” says Michael. “Mine is tastefully modified with subtle improvements that don’t get the purists too upset but make mine a helluva lot more fun to drive.” One of these modifications, the stealth infotainment system concealed behind a movable panel of the dash, is almost as comprehensive as the uConnect package you would find in a contemporary Chrysler 300.
The cross-ram fuel-injection setup is a unique, one-off design. From Imagine Injection in Phoenix, Arizona. It was this unusual EFI set up that caught our eye many years ago when caravanning from Phoenix to Las Vegas for that year’s Mopars at the Strip (when it was still called Mopars at the Strip). Lifting the hood at a gas stop in Wickenburg, Arizona, we saw that the expected carburetors were missing, replaced by a state-of-the-art fuel-injection set up. Michael explained that not only did fuel injection improve driveability, but in conjunction with the overdrive fifth gear, it substantially improved fuel mileage. It’s almost as if it was engineered by Chrysler’s engineers in Highland Park back in the 1960s (remember that Corvette offered fuel injection since 1957).
Over the years Michael has joined many Mopar clubs including the Chrysler 300 Club International, the Chrysler 300 Club Inc., AZLX Modern Mopar Muscle, and the 602 (area code) Mopars. He’s participated in the Silver State Classic Challenge and the Nevada Open Road Challenge
Michael notes that he doesn’t drive the 300K as much as he might like. “I drive my projects a little bit after completing them before parking them and getting involved in my next project. It’s a mixed blessing. I’ve been fortunate to be able to build quite a few Mopars but when I’m into a current build that consumes all my time, I don’t enjoy the finished cars as often as I hoped to. One thing I love is that my family is actively involved in the hobby and I have aspirations that my three daughters will get the car bug as they approach driving age in a few years.”
“I love my vintage Mopars, but as I’ve gotten older, and the cars have gotten older I enjoy them differently than I used to,” say Michael with a smile. “I don’t abuse them like I used to, I have the modern Mopars for that. If I hurt one of the new cars the local dealership delivers the new parts to my shop the next day and I’m well on the way to being back on the road. I had a customer who wrecked his vintage Challenger and although the insurance took care of the bill, the car was down nearly a year for the rebuild. I think that’s got to be a collector’s worst nightmare.”
Concluding our conversation, Michael noted that both the 1964 and 1971 Newports that started it all for him are still in the family. This, as well as the cars he’s built since then, remain in his custody. Unlike many of us, he’s had space and never has been forced to sell any of his Mopar legacy.
ENGINE Type V8 Wedge Bore x stroke 4.36-inch x 4.15-inch Block 440 Rotating assembly: Mopar Cylinder heads: Edelbrock Compression: 10.4:1 Camshaft: Muscle Motors spec’d, Comp Cams ground Hydraulic Roller Cam Valve train: Hughes Engines 1.6 Roller Rockers Induction: Original “Short” cross-ram fitted with EFI Oiling system: OEM Fuel system: EFI by Imagine Injection Phoenix, AZ Exhaust: Factory Cast Iron “headers” into 2.5-inch pipes through Impco Imperial-style stock mufflers Ignition: Direct Connection electronic replacing the factory dual point Cooling OE Engine built by: Shortblock by Speedomotive,
DRIVETRAIN Transmission: Five-speed Tremec TKO600 Shifter: Tremec with Hurst Handle Steering: Stock power steering Front brakes: AAJ Disc brake conversion using GM calipers Rear brakes: Dr. Diff Disc brake conversion using Mustang Cobra calipers Rear Axle: 8-3/4 sure grip with 4.10 gear
WHEELS & TIRES Wheels: 18×8 Centerline Boulevard wheels with as-cast centers instead of polished Tires: Michelin MXV4, front 235-50-18, Rear 255-55-18
INTERIOR Seats: OEM leather by Legendary Auto Interiors Instruments: OEM and vintage-style Autometer short sweep tach mounted on the steering column Hidden Navigation radio
The post Best of Both Worlds: 1964 Chrysler 300K appeared first on Hot Rod Network.
from Hot Rod Network https://www.hotrod.com/articles/1964-chrysler-300k/ via IFTTT
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lindyhunt · 6 years
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16 of the Best Shopify Stores to Inspire Your Own
Ecommerce is predicted to account for 17% of all U.S. retail sales by 2022. As ecommerce grows, so does competition, making it hard to differentiate your website from everyone else's.
It isn't enough to have a one-of-a-kind product: to attract your ideal audience -- and more importantly, to turn that audience into passionate brand ambassadors -- you need a one-of-a-kind website.
A sleek and captivating Shopify website can attract a large audience and even act as your start-to-finish marketing pitch.
But you need to know what makes one Shopify website better than the rest. Here, we've curated a list of 16 best of the best Shopify stores to inspire your own.
Whether you're new to ecommerce and about to design your first website, or an ecommerce veteran considering a redesign to outshine your competitors in 2018, this list offers plenty of creative ideas.
Top Shopify Stores
UgMonk
Pipcorn
Taylor Stitch
Happiness Abscissa
Skinny Teatox
HELM Boots
BioLite
Pop Chart Lab
Luca and Danni
Harris Farm Markets
So Worth Loving
Great George Watches
Choose Muse
Brilliant
Holstee
Kylie Cosmetics
1. UgMonk
Jeff Sheldon starts the "About" section on his UgMonk website with a simple question: "Why was it so difficult to find fresh, high-quality, unique items in a modern aesthetic?" His Shopify site is simple and fresh, and exhibits UgMonk's clothing, workplace items, bags, and prints in the same modern aesthetic style he sought while designing his unique products.
2. Pipcorn
When you think about popcorn, I'm betting the first concern that comes to mind isn't "is it healthy?" Pipcorn knows this, so their homepage features a simple slogan: "Most tender, crunchy, delicious popcorn … and it won't destroy your teeth like the ‘generic' stuff." The best websites know their target audience's primary concerns (in this case, the taste of popcorn and the kernels in teeth), and sell them on those solutions upfront.
If you look on their "About Us" page, you'll find Pipcorn's products are also non-GMO, vegan, gluten free, and whole grain. Even though this could have easily been incorporated into their slogan, they chose to exclude it in favor of tackling our bigger concern: Does it taste good?
3. Taylor Stitch
The inner child in me loves Taylor Stitch's website because of the creative alternatives displayed when you hover over a product: a jacket, for instance, flips to an image of a model posing with the jacket on a motorcycle.
The Taylor Stitch website does something else really cool, too: it almost immediately calls more attention to its message than its products, with "Three Simple Ingredients" written across most of the images you see on the homepage. Taylor Stitch doesn't just make high-quality clothing. It also aims to reduce waste and help the environment by creating clothing with recycled or 100% natural products.
On their website, you can't miss their environmental efforts, and I'm betting this is a differentiating factor for most buyers when they come across the site.
4. Happiness Abscissa
Many of the websites I mention on this list have clean, straight lines. Happiness Abscissa is unique. It shows a playful side by displaying a layout with bright abstract images, and even products hanging from different angles.
The company's logo, a crooked "Ha," draws in the viewer's attention, and then they use Ha in a sentence without defining the word, further stimulating viewers' curiosity. You get the sense they don't take themselves too seriously, affording the viewer a cheerful and fun experience.
5. Skinny Teatox
I myself was tempted to purchase the Teatox product when I checked out this site (in my defense, they were having a one-day flash sale I did not want to miss). The Skinny Teatox homepage immediately confronts your biggest concerns ("Is it natural? Yes. Will it work? Yes."), and uses pastel colors and cute icons of bikinis and mugs to convey a fresh vibe.
As I've noticed with a few other Shopify websites, Skinny Teatox places its products on the homepage with an easy "buy now" call-to-action. For a company that isn't too complex to figure out ("All Natural Detox Weight Loss Tea" is written beside the company name in search engines), I think it makes sense to offer the viewers what they want upfront.
6. HELM Boots
"Our boots give men confidence from the ground up, confidence to take steps they've never taken before." Immediately, HELM incentivizes viewers through emotion: I might just be a guy looking to buy some boots, but yes, I'd definitely also like some confidence and bravery while I'm at it. The website looks elegant, and you can find everything from the homepage, which is designed to convert viewers at various stages of the buyer's journey and assuage doubts as you scroll.
7. BioLite
I might be a sucker for the little details, but the product images on BioLite's website are enough to make me want to buy something (they look 3-D and illuminated, and some even look wet from rain!).
Since BioLite's major selling point is its humanitarian impact (the products bring affordable energy access to places in India and Africa), the first thing on the homepage is their slogan, "Gear That Brings Energy Everywhere," which will appeal to their target audience. The navigation bar at the top also has a clever twist: beside each product title, there are little black-and-white cartoon drawings of the product.
8. Pop Chart Lab
This site looks like one of the vintage and trendy prints they sell. It's also organized in different categories depending on a viewer's browsing preference.
First, Pop Chart Lab's Shopify store has a scroll-down navigation with sub-categories ranging from, "NYC" to "Kids" to "Hip Hop" to "Wine." They also have a carousel with some of their top prints on display. Below the carousel, they offer "wholesale," "gift guides," and "scratch-off" collections, for viewers who are having a difficult time discerning what they want. The shop manages to appear simple, despite its vast array of different print products, which is no easy feat.
9. Luca and Danni
There's something addictive about an ecommerce store that changes as you scroll. Luca and Danni's page is highly interactive: as you scroll, some images get bigger and others get smaller, boxes of bracelets open up within images, and some images follow you down the page. It can be tricky to offer so much movement on a page while remaining coherent, but somehow, Luca and Danni accomplish this. There's also a very zen vibe to the whole layout, with images of palm trees and cactuses, and calls-to-action with language like "brighter days: shop soil to sky," and "find what speaks to you."
10. Harris Farm Markets
This is a family-owned company, something you can't miss from the homepage. It's casual and playful, with text that looks like a child's handwriting and colorful drawings of fruit (there's even an adorable drawing of a bee with animated wings!). Even the calls-to-action sound laid-back, like "What's nature been up to?" It's so genuine, you can imagine a family building the site together.
11. So Worth Loving
Sometimes, being evasive pays off. While it's not always a good idea to hide your products from the viewer, it can be a very smart move if your product doesn't make sense without understanding the backstory. With So Worth Loving's site, you don't even see the t-shirts for sale until a third of the way down the page. By that point, you've already read their slogan, a little bio from the founder, Eryn, and a full narrative about how the site began.
The site leans into personal touches, with handwritten-looking quotes scrawled across images and very normal looking images of people posing in t-shirts. This is a great example of knowing your audience enough to break the rules.
12. Great George Watches
I'm not an experienced watch shopper, so when I first read, "Made with Swiss parts and 100% square," on Great George Watches' homepage, I thought maybe "square" was a fancy term I'd understand if I knew watches. But as I scrolled and read, "Think outside the circle," I realized these terms were unique to Great George Watches, which are all square-faced.
By emphasizing what makes their product unique before even showing the produce, Great George Watches captivates the viewer. I love this shop because it has a refined and polished look, with black-and-white photos and an attention-grabbing red call-to-action button.
13. Choose Muse
Choose Muse incorporates a full-display video of a man putting headphones on and using Choose Muse's product right from the homepage. The video starts playing immediately (as opposed to offering a play button option), which is especially eye-catching. I usually think simple is better when it comes to design, but Choose Muse proves me wrong, incorporating compelling designs with a ton of images and text, while still retaining a clean and enjoyable viewer experience.
14. Brilliant
For a math and science website, Brilliant is surprisingly easy-to-navigate (even for someone like me, an English major … ), with big, colorful block buttons to choose the math concept you want to learn. This shop is also a fantastic example of using a call-to-action button wisely: there's a big "sign up for free" button prominently displayed in the top right, and then another at the bottom of the page, after you've scrolled past the information you need.
The site doesn't have a navigation bar, but instead uses the web page to answer all the questions a viewer might have.
15. Holstee
Holstee does a fantastic job of designing their site in tiers depending on a person's initial level of interest in the product. For starters, you see the text, "We help you along your journey to live more fully and mindfully." If you're already convinced, you can click "Join today" right below the text. If not, you can continue to scroll down the homepage to find pain points this product reduces, read a "Holstee Manifesto," see Membership benefits, check out testimonials, and find publications Holstee's been featured in.
Throughout the page, there are various calls-to-action, like "Choose a plan that's right for you," and then, at the end, "Become a member today." I love this site because it becomes increasingly convincing and in-depth as you scroll: it's clear they use their homepage as a start-to-finish marketing pitch.
16. Kylie Cosmetics
As one of the top 10 most followed accounts on Instagram, Kylie Jenner's Cosmetic brand is one of the bigger brands using Shopify today. Her site has a very distinct girly-girl vibe, with a bubble-gum pink background showing off her lip kits and gloss.
Kylie's site is also well-organized for her audience: the lip kits, her best-known items, are shown first on the homepage, with "top sellers" below that. I didn't feel overwhelmed looking through the various cosmetic products like I thought I would, and what really stood out to me about Kylie's site is the fun, colorful layout. It might not be everyone's cup of tea, but I'm betting it appeals to her target audience.
See a store design above that you like? First, grab the guide below to find out how user-generated content can give your business the gusto it needs to attract and retain online shoppers.
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woohooligancomics · 6 years
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Zen and the Cult of Personality: a ComicsGate Story
You can't be a comedian and be afraid of people insulting you. And if stand-up or really any live performance is part of your act, hecklers are a fact of life. Performing live comedy and not expecting occasional hecklers is like working for the Fish and Wildlife department and not expecting bears, or not expecting drunks at a bar, or being a storm trooper and not expecting to get force-choked by Darth Vader.
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I've talked about heckling before, but I haven't talked much about the hecklers themselves. Hecklers are a bit like internet trolls, although they're actually a bit worse, even cult-like. You see, internet trolls aren't bundles of narcissism, sadism and sociopathy like hecklers. ;)
As a comedian, if you ignore a heckler it ruins the enjoyment for the rest of the audience, so you have to do something. Most comedians fight snark with snark. Unlike internet trolls, hecklers often just won't give up, so it becomes a kind of roast-battle where the comedian and the heckler fire back and forth, competing for the most creative and entertaining insults. "Yo mamma so dead, you attended her funeral!" This is the most challenging part of performing live comedy because you have to be really creative on the spot, and while they're not quite the same, internet trolls can offer a substitute for us to practice against.
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I don't have any video of heckling handy, but I do have an exchange with an internet troll, and I'll add some commentary here to show how hecklers are different. I exchanged barbs with Tre_420, a totally normal lone-wolf troll, who would never do anything cult-like. Hecklers on the other hand are frequently fans of another comedian, and invent entire alter-egos for the express purpose of stalking and harassing anyone who's remotely critical of their glorious leader. A troll like Tre would never spend so many hours of his own personal time relentlessly insulting the critics of someone like ComicsGate celebrity Richard Meyer (D&C), who totally didn't create the Diversity and Comics YouTube channel for the purpose of mocking comics he doesn't like, to amass a cult-like mob of followers to harass their creators at every turn, and certainly has never flat out admitted that being a deliberate asshole is his brand strategy. They certainly haven't recently harassed the widow of a beloved comic creator after she objected to them trying to claim her husband as one of their group. No, trolls are far too busy with their normal daily lives, jobs, families, friends and parties to engage in that sheer volume of cult-like stupidity.
These aren't entirely in order for a few reasons, but you get the idea. It begins with a tweet from cosplayer Renfamous, not even mentioning Meyer by name, much less tagging him. Meyer's fans totally aren't hovering over a feed of the #comicsgate hashtag, waiting with baited breath to insult anyone who's remotely critical of them. You can see more of Renfamous' thoughts on ComicsGate as a whole in this thread she pinned. IGG = IndieGoGo
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Like I said, trolls are lone wolves, so their harassment isn't on behalf of some glorious cult leader. And you can see here that their jabs are quite creative, even sophisticated, providing great entertainment. They're certainly not the kind of sloppy and purile insults you hear from hecklers who believe that everything you need to know you learned in kindergarden, and therefore there is no need to evolve as a person after that age.
This means trolls also understand when someone has stopped arguing with them and begun simply mocking, at which point they stop trying to make any real arguments (assuming they were trying to in the first place).
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One thing a heckler does have over a troll is their ability to truly engrage their targets. While a troll will get creative, looking for different kinds of insults or different ways of delivering them, the heckler knows that the most effective strategy is to simply continue with the same insult with very little (if any) variation. Even when there's no logical reason the subject should be upset by their insult (because they're only stating the obvious for example), mere repetition always makes people super angry until they break down in a sobbing, heaving mass on the floor. I suppose it's a lot like the way parents inevitably snap when their five-year old won't stop asking "why?"
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The troll remembers that repetition is key. The less a subject cares, the more important it is that he repeats his oh so logical argument about sales figures! On that note, the troll also doesn't exhibit the heckler's cult-like obsession with making money... or the size of their in-group, remember trolls aren't cultish, they're loners. Nor would they be obsessed with not just their own income, but the incomes of ostensible competitors as well. And they certainly wouldn't share a common delusion about that income amongst their group, like the shared delusion disorder often found among cult members.
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Nor do comicsgate trolls, like the cultish hecklers, have a polarized "us vs them" attitude, a persecution complex, worry about or discourage people from leaving their group, or hold secret meetings to discuss their enemies, or attack people who leave their non-existent group as apostates.
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Trolls don't see themselves as elites or saviors. And they certainly would never deliberately drum up a fake story to inspire backlash against a competitor and drive support for a persecution complex or savior status.
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Note that, having a level of sophistication the heckler doesn't possess, the troll displays impeccable spelling and grammar! The troll knows how important spelling is, not just when you're trying to enrage someone, but for future job prospects.
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And the troll's brain would never just short-circuit in the middle of a conversation, leaving him unable to decide if he's trying to defend himself or lend support to someone who's mocking him. Trolls are winners and winners don't do drugs!
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Where a heckler tends to be prone to apocryphal pop-culture ideas, the troll, again with a greater level of sophistication, always does his research and knows what he's talking about. They would never look at a a task like trolling a comedian and fall for the Dunning-Kruger effect, the comfortable assumption that it must be easy, thus making them bad at their primary goal. The troll would also never fall for a charismatic cult leader because his is the loudest voice in the room.
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As I said before, trolls are loners who never feel the need to gang up on people the way hecklers do. The troll also understands that his behavior impacts the reputation of his peers, unlike the heckler who's always on the lookout for ways to make himself seem like the worst garbage person you've ever met.
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And of course, a troll would never "own" himself by using an insult that applies more to himself than his intended target, having never created an anonymous alter ego for the express purpose of insulting anyone who dared to criticize a beloved cult leader... sorry, I meant alpha troll.
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Like I said before, hecklers often just won't give up, but a troll knows when to call it quits. A troll would never say "I don't have to sit here and listen to this", and then not only listen but continue to reply for several more hours.
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Have I mentioned how Richard Meyer's popularity totally has nothing to do with his not being able to handle the existence of comics he didn't care for from Marvel and DC? Also I like how he doesn't think anyone will notice the racist undertone of "a man named Tyrone".
Trolls also stay on topic, unlike a heckler who'll just change the subject if he doesn't like where things are going. A troll will always deny an insult if it's innacurate. At least, so I've heard from these trolls. Tre never actually denied that he's throwing a fit about the cult thing. He's deflected and changed the subject though.
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Oh, and trolls can count! When a heckler counts, it goes 1, 2, ALL THE THINGS!
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Like I said, trolls unlike hecklers know what they're talking about. They often have degrees in clinical psychology to give them deep insights into why people behave the way they do. They know that when someone is sensitive about something they could easily hide, they always hide it in plain sight, like including it in their Twitter bio.
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Plus hecklers are huge hypocrites. Trolls not so much. Trolls would never joke that murdering gay people would be doing them a favor and then send their fans into a hysterical group shit-fit because a comedian's joke about them implied they're a hypocrite. The troll's fans would never say to the comedian, "now calm the fuck down, he's just joking", then belie their own inability to take a joke by whining about ad hominem (without understanding what it means), refer to the comedian's riffs as "sjw tantrums", respond to the comedian stating he's a comedian by calling him a liar, or saying he was "on the wrong side of history" like being called a hypocrite is an act of war.
Incidentally, the "wrong side of history" guy was especially bothered by my barbs implying he has homosexual tendencies (I myself am bisexual), and blocked me shortly afterward, which all of these guys say means he's a whiny baby and I "owned his ass". They should know, they all have degrees in clinical psychology! :P
They might tell the comedian they can "smell your weakness" over the internet, because our best our comics have taught us that browbeating the weak is what real heroes do!
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hack comicsgate diversity and comics hack
hack comicsgate diversity and comics hack
A comedian might string someone along while mocking them, to create content for their show or their blog. The heckler just mocks people for his own personal enjoyment, not at all like the troll. Like I said, trolls aren't bundles of narcissism, sadism and sociopathy. I confess, I think performing comedy comes with a certain amount of narcissism, but I try to balance that out with being the biggest asshole I conceivably can to anyone who's remotely critical of my work. Comicsgate celebrities like Richard Meyer wouldn't know anything about that. ;)
hack comicsgate diversity and comics hack
In the long run, the troll has the decency to understand that some things in life are worth more than money, and it's not worth sacrificing countless hours of your life that you could spend with your family instead stalking and harassing people who might be critical of your fandom, no matter how much money your alpha troll... sorry... no matter how much money your cult's glorious supreme leader makes.
hack comicsgate diversity and comics hack
hack comicsgate diversity and comics hack
So even after showing them, in no uncertain terms, that all I'm going to do with their bullshit is mock them (because that's what comedians do), they're still soooooo stupid they can't possibly fathom that I blocked them for any reason other than that I'm lying in a pool of "liberal tears". And they're not entirely wrong, I mean, I am laughing so hard I'm crying! :D
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The block was to clean up my notifications and remove the temptation to continue mocking them because the well had run fairly dry. Tre just repeating himself wasn't getting any funnier, and I thought my Twitter followers were likely getting bored of seeing him if they weren't already.
I don't expect this blog to "end of Richard Meyer", nor did I expect that of my earlier First World Problems video, any more than Colbert expects his Late Show monologue to end the president. I just think they're all hilariously stupid and hypocritical, and if they're being deliberate assholes, it's fair game for us to mock them. I know I'm going to hear #notallcomicsgate - whatev'... if you're huffing conspiracy theories about a nefarious secret cabal of SJW assistant editors at Marvel, I don't know what to tell you other than bye Felicia!
Remember, when we do exactly what Meyer and his fans do, we're on the wrong side of history! ;)
- Sam
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nofomoartworld · 7 years
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Hyperallergic: Weighing Ai Weiwei’s Work Amid Butterflies and Botanical Life
Installation view, Ai Weiwei at Meijer Gardens: Natural State (all photos by the author for Hyperallergic)
GRAND RAPIDS, Mich. — I’ve had the recent good fortune to visit a number of art exhibitions in botanical gardens — either installed directly within the conservatories or in adjacent galleries. Much of the wealth of art institutions is directed toward conservation; it creates an interesting parallel to see art objects displayed in places that are typically devoted to the conservancy and maintenance of living creatures. Like many museums, botanical gardens are largely research facilities, while dealing heavily, in their public-facing aspects, with aesthetics and questions of interpretation and audience engagement.
The Fredrick Meijer Gardens & Sculpture Park occupies a site originally slated for a Meijer store — Meijer being a major catchall retail chain (like Target) ubiquitous in most Great Lakes states (and Kentucky). But due to community opposition, it instead became the location of a sculpture garden, a pet project of the chain’s founder, Fredrick Meijer. In addition to a permanent collection of art on the grounds, the institution houses traditional botanical environments — desert/arid and tropical — as well as an art gallery. All of these are currently hosting different aspects of an exclusive exhibition of works by Ai Weiwei, titled Natural State.
Ai Weiwei, “Free Speech Puzzle” (2015), hand-painted porcelain in the Qing dynasty imperial style
Discussion of this exhibition began years ago, sparked by Meijer Gardens’ acquisition of Ai’s “Iron Tree,” which is now a permanent part of the sprawling sculpture garden that surrounds the indoor facilities. Joseph Becherer, chief curator and vice president of horticulture and sculpture collections and exhibitions, worked intensively with Ai — who was, at that time, still under house arrest in China — to purchase and install the work according to his specifications. The diligence demonstrated by Meijer Gardens during the installation of “Iron Tree” impressed upon the artist the institution’s capacity to execute a larger-scale exhibition. Becherer and Ai seem to have struck up a friendship over the years.
Ai Weiwei’s “Iron Tree,” part of the permanent collection at Meijer Gardens
The works in the exhibition appear in three zones: the traditional galleries, the interstitial space between galleries and conservatories, and the conservatory environments themselves. Much of the work on display is porcelain, although the non-conservatory areas also feature wallpaper installations, which give the large galleries a sense of fullness, even with a rather spare distribution of sculptures. Lofted above the main causeway connecting the conservatories to the lobby are a selection of Ai’s bamboo and silk kites (previously shown in a department store in Paris). The main gallery displays Ai’s rendering in Legos of the controversial photographs that document his destruction of a Han dynasty urn. All the rest of the works on display are porcelain or ceramic.
Within the conservatories, the pieces struggles to hold their own. A number fight for attention with the botanical installations — for example, the large, blue, ceramic water drop sculptures in the desert room could be taken for little more than garden art. This is particularly true of the tropical room’s giant pots and “tofu” ceramic sculptures (which resemble large blocks of tofu, but are also a play on words criticizing the shoddy construction practices that resulted in fatalities during the Sichuan earthquake); due to their scale and pastel shades, they almost give the appearance of being Disneyland props. The sense of fancifulness is enhanced by the seasonal, live butterfly zone, in which some 7,000 exotic butterflies have been set loose. It is the rare artwork that can compete with a kaleidoscope of Blue Morphos. In another botanical wing, I witnessed a family group cheerfully posing for a portrait with the colorful porcelain twists that mimic the rebar commemorating the children who died in the 2008 Sichuan earthquake.
Installation view, Ai Weiwei at Meijer Gardens: Natural State
Ai Weiwei, “Porcelain Rebar” (2015)
The work outside the conservatories better retains its identity as art — but even in the lobby, people pose for selfies in front of the wallpaper showcasing the flower displays that came to symbolize Ai’s incarceration at the hands of the Chinese government. Here, at least, one detects the artist’s wry humor: with his keen understanding of the digital culture that promulgates his messages, Ai has hung a blow-up of his own selfie, taken moments before his arrest and detention without trial, in the center of a colorful wall that will become the backdrop for a host of unironic visitor selfies. In the main gallery, a series of Han dynasty pots have been refinished in shiny automotive paints — a nod to the local flavor.
In the lobby gallery: Ai Weiwei, “With Flowers” (2013–15), wallpaper, and “Illumination” (2009) color print on dibond
Unlike other botanical gardens I’ve visited, which were mainly patronized by a few moms with strollers, Meijer Gardens is bustling with activity. Grand Rapids schoolchildren routinely visit, with special curriculum related to the botanical components, physical education activities tied to the sculpture garden, and, of course, walks through the art galleries. This represents a wide audience, one perhaps unaware of or unreachable through more conventional fine art settings, and thus there’s an opportunity for exposure to some of Ai’s more politically pointed messaging.
Yet, in wandering the galleries and grounds, I found myself searching for comparisons and grasping for a conclusion. Is it good to provide broader access to the work of Ai Weiwei, regardless of whether or not the context blunts the politics? Or does art, stripped to any degree of its social commentary, becomes instantly objectified and purposeless? Can really great art communicate its intention, regardless of context and the potential indifference or intractability of an audience?
Ai Weiwei, detail of “He Xie” (2011), porcelain
“I still see and feel the strong political and personal commentary in much of the work,” said Becherer in an email interview that followed a tour of the show. “It seems very present to me, although the context does not project boldly as it did at Alcatraz, for example. Here at Meijer Gardens, the messaging may be a little more subtle and contemplative, but it has another strength: when I consider ‘Blossom’ or the flower wallpaper, or even the vitrines of smaller scale ceramic work, it is normal to want to linger in notions of the botanical, but there is a strong counterpunch in looking at the bold cultural and political statements those kinds of works really make. Having said that, there is something in the quiet beauty and fragility that the works … offer that resonates here. You see the power and transience of the natural world, another kind of protest. On the flip side, the two things Weiwei most deeply cares about, human rights and freedom of speech, are beautiful and fragile, like so many aspects of the ‘cultivated’ natural world. Left unattended, or worse, uncared for, that fragile beauty can be choked, can die and can disappear.”
Ai Weiwei, “Remains” (2015), porcelain
Advertising, as retailers well know, works through exposure: It doesn’t matter how smart you are; if you hear the same jingle enough times, it will get stuck in your head. By creating exposure to lovely objects imbued with meaning, are we planting seeds for critical thinking about society — or are we just creating a backdrop for ever more selfies? Can a message about free speech be clearly conveyed to an American audience, even when it is written in Chinese — both literally, as Ai’s work tends to be, and metaphorically, as it emerges from a context in which free speech is neither a right nor a given? It is possible that the extreme measures taken by governments to suppress artistic expression are reflective of an understanding that art has the power to shake society at its foundation. And of course, those who benefit most from the existing hierarchy have no real reason to support ideas that are disruptive to it. In the US, philanthropy tends to be characterized as beneficial to art, but there’s always the sinister possibility that anything introduced into a capitalist system becomes little more than a commodity.
On balance, I would rather have a botanical garden than a Meijer convenience store, but this environmental and aesthetic monument is, of course, built by the wealth of commerce and, in many ways, a demonstration of it. Arts philanthropy is popular among wealthy people as a means of reinforcing their image as generous and genteel — and as a convenient tax shelter, a way of using upper-class, otherwise taxable dollars to purchase expensive art and have it displayed in a building or wing bearing their name. Nonetheless, in a country where public funding for the arts is under threat, I cannot argue against the merits of redirecting monies that would end up funding international displays of aggression by small men into a wonderland of butterflies. And though I can speculate about the ways it might change the physical and cultural landscape to transform every Meijer into a sculpture garden or tropical adventure zone, sooner or later I, too, need to buy groceries, and perhaps a bookshelf, and get a prescription filled — and my local Meijer is a convenient place to do so. Perhaps providing an environment hospitable to such musings is the best we can expect from the rare benefactors of capitalism, in this day and age.
Ai Weiwei, “Taifeng” (2015), bamboo and silk
Ai Weiwei, “Water Drop” (2008) and “Cone” (2007)
One of Ai Weiwei’s large pots installed in the Lena Meijer Tropical Conservatory
Ai Weiwei, “Finger” (2014), wallpaper, and “Oil Spills” (2006), porcelain
In the main gallery: Ai Weiwei, “The Animal that Looks Like a Llama but is Really an Alpaca” (2015), wallpaper; “Dropping a Han Dynasty Urn” (2016), LEGO bricks; “Han Dynasty Vases with Auto Paint” (2015), Han dynasty vases (202 BCE–220 CE) and auto paint
Ai Weiwei at Meijer Gardens: Natural State continues at Fredrick Meijer Gardens & Sculpture Park (1000 East Beltline Ave NE, Grand Rapids, Michigan) through August 20.
Editor’s note: The author’s travel expenses were paid for by Meijer Gardens.
The post Weighing Ai Weiwei’s Work Amid Butterflies and Botanical Life appeared first on Hyperallergic.
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lindyhunt · 6 years
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16 of the Best Shopify Stores to Inspire Your Own
Ecommerce is predicted to account for 17% of all U.S. retail sales by 2022. As ecommerce grows, so does competition, making it hard to differentiate your website from everyone else’s.
It isn’t enough to have a one-of-a-kind product: to attract your ideal audience -- and more importantly, to turn that audience into passionate brand ambassadors -- you need a one-of-a-kind website.
A sleek and captivating Shopify website can attract a large audience and even act as your start-to-finish marketing pitch.
But you need to know what makes one Shopify website better than the rest.  Here, we’ve curated a list of 16 best of the best Shopify stores to inspire your own. 
Whether you’re new to ecommerce and about to design your first website, or an ecommerce veteran considering a redesign to outshine your competitors in 2018, this list offers plenty of creative ideas.
1. UgMonk
Jeff Sheldon starts the “About” section on his UgMonk website with a simple question: “Why was it so difficult to find fresh, high-quality, unique items in a modern aesthetic?” His Shopify site is simple and fresh, and exhibits UgMonk’s clothing, workplace items, bags, and prints in the same modern aesthetic style he sought while designing his unique products.
2. Pipcorn
When you think about popcorn, I’m betting the first concern that comes to mind isn’t “is it healthy?” Pipcorn knows this, so their homepage features a simple slogan: “Most tender, crunchy, delicious popcorn … and it won’t destroy your teeth like the ‘generic’ stuff.” The best websites know their target audience’s primary concerns (in this case, the taste of popcorn and the kernels in teeth), and sell them on those solutions upfront. If you look on their “About Us” page, you’ll find Pipcorn’s products are also non-GMO, vegan, gluten free, and whole grain. Even though this could have easily been incorporated into their slogan, they chose to exclude it in favor of tackling our bigger concern: Does it taste good?
3. Taylor Stitch
The inner child in me loves Taylor Stitch’s website because of the creative alternatives displayed when you hover over a product: a jacket, for instance, flips to an image of a model posing with the jacket on a motorcycle. The Taylor Stitch website does something else really cool, too -- it almost immediately calls more attention to its message than its products, with “Three Simple Ingredients” written across most of the images you see on the homepage. Taylor Stitch doesn’t just make high-quality clothing. It also aims to reduce waste and help the environment by creating clothing with recycled or 100% natural products. On their website, you can’t miss their environmental efforts, and I’m betting this is a differentiating factor for most buyers when they come across the site.
4. Happiness Abscissa
Many of the websites I mention on this list have clean, straight lines. Happiness Abscissa is unique. It shows a playful side by displaying a layout with bright abstract images, and even products hanging from different angles. Their logo, a crooked Ha, draws in the viewer’s attention, and then they use Ha in a sentence without defining the word, further stimulating viewers' curiosity. You get the sense they don’t take themselves too seriously, affording the viewer a cheerful and fun experience.
5. Skinny Teatox
I myself was tempted to purchase the Teatox product when I checked out this site (in my defense, they were having a one-day flash sale I did not want to miss). The Skinny Teatox homepage immediately confronts your biggest concerns (“Is it natural? Yes. Will it work? Yes.”), and uses pastel colors and cute icons of bikinis and mugs to convey a fresh vibe. As I’ve noticed with a few other Shopify websites, Skinny Teatox places its products on the homepage with an easy “buy now” call-to-action. For a company that isn’t too complex to figure out (“All Natural Detox Weight Loss Tea” is written beside the company name in search engines), I think it makes sense to offer the viewers what they want upfront.
6. HELM Boots
“Our boots give men confidence from the ground up, confidence to take steps they’ve never taken before.” Immediately, HELM incentivizes viewers through emotion: I might just be a guy looking to buy some boots, but yes, I’d definitely also like some confidence and bravery while I’m at it. The website looks elegant, and you can find everything from the homepage, which is designed to convert viewers at various stages of the buyer’s journey and assuage doubts as you scroll.
7. BioLite
I might be a sucker for the little details, but the product images on BioLite’s website are enough to make me want to buy something (they look 3-D and illuminated, and some even look wet from rain!). Since BioLite’s major selling point is its humanitarian impact (the products bring affordable energy access to places in India and Africa), the first thing on the homepage is their slogan, “Gear That Brings Energy Everywhere,” which will appeal to their target audience. The navigation bar at the top also has a clever twist: beside each product title, there are little black-and-white cartoon drawings of the product.
8. Pop Chart Lab
This site looks like one of the vintage and trendy prints they sell. It’s also organized in different categories depending on a viewer’s browsing preference. First, they have a scroll-down navigation with sub-categories ranging from, “NYC” to “Kids” to “Hip Hop” to “Wine.” They also have a carousel with some of their top prints on display. Below the carousel, they offer “wholesale,” “gift guides,” and “scratch-off” collections, for viewers who are having a difficult time discerning what they want. The shop manages to appear simple, despite its vast array of different print products, which is no easy feat.
9. Luca and Danni
There’s something addictive about an ecommerce store that changes as you scroll. Luca and Danni’s page is highly interactive: as you scroll, some images get bigger and others get smaller, boxes of bracelets open up within images, and some images follow you down the page. It can be tricky to offer so much movement on a page while remaining coherent, but somehow, Luca and Danni accomplish this. There’s also a very zen vibe to the whole layout, with images of palm trees and cactuses, and calls-to-action with language like “brighter days: shop soil to sky,” and “find what speaks to you.”
10. Harris Farm Markets
This is a family-owned company, something you can’t miss from the homepage. It’s casual and playful, with text that looks like a child’s handwriting and colorful drawings of fruit (there’s even an adorable drawing of a bee with animated wings!). Even the calls-to-action sound laid-back, like “What’s nature been up to?” It’s so genuine, you can imagine a family building the site together.
11. So Worth Loving
Sometimes, being evasive pays off. While it’s not always a good idea to hide your products from the viewer, it can be a very smart move if your product doesn’t make sense without understanding the backstory. With So Worth Loving’s site, you don’t even see the t-shirts for sale until a third of the way down the page. By that point, you’ve already read their slogan, a little bio from the founder, Eryn, and a full narrative about how the site began. The site leans into personal touches, with handwritten-looking quotes scrawled across images and very normal looking images of people posing in t-shirts. This is a great example of knowing your audience enough to break the rules.
12. Great George Watches
I’m not an experienced watch shopper, so when I first read, “Made with Swiss parts and 100% square,” on Great George Watches’ homepage, I thought maybe “square” was a fancy term I’d understand if I knew watches. But as I scrolled and read, “Think outside the circle,” I realized these terms were unique to Great George Watches, which are all square-faced. By emphasizing what makes their product unique before even showing the produce, Great George Watches captivates the viewer. I love this shop because it has a refined and polished look, with black-and-white photos and an attention-grabbing red call-to-action button.
13. Choose Muse
Choose Muse incorporates a full-display video of a man putting headphones on and using Choose Muse’s product right from the homepage. The video starts playing immediately (as opposed to offering a play button option), which is especially eye-catching. I usually think simple is better when it comes to design, but Choose Muse proves me wrong, incorporating compelling designs with a ton of images and text, while still retaining a clean and enjoyable viewer experience.
14. Brilliant
For a math and science website, Brilliant is surprisingly easy-to-navigate (even for someone like me, an English major … ), with big, colorful block buttons to choose the math concept you want to learn. This shop is also a fantastic example of using a call-to-action button wisely: there’s a big “sign up for free” button prominently displayed in the top right, and then another at the bottom of the page, after you’ve scrolled past the information you need. The site doesn’t have a navigation bar, but instead uses the web page to answer all the questions a viewer might have.
15. Holstee
Holstee does a fantastic job of designing their site in tiers depending on a person’s initial level of interest in the product. For starters, you see the text, “We help you along your journey to live more fully and mindfully.” If you’re already convinced, you can click “Join today” right below the text. If not, you can continue to scroll down the homepage to find pain points this product reduces, read a “Holstee Manifesto,” see Membership benefits, check out testimonials, and find publications Holstee’s been featured in. Throughout the page, there are various calls-to-action, like “Choose a plan that’s right for you,” and then, at the end, “Become a member today.” I love this site because it becomes increasingly convincing and in-depth as you scroll: it’s clear they use their homepage as a start-to-finish marketing pitch.
16. Kylie Cosmetics
As one of the top 10 most followed accounts on Instagram, Kylie Jenner’s Cosmetic brand is one of the bigger brands using Shopify today. Her site has a very distinct girly-girl vibe, with a bubble-gum pink background showing off her lip kits and gloss. Her site is well-organized for her audience: the lip kits, her best-known items, are shown first on the homepage, with “top sellers” below that. I didn’t feel overwhelmed looking through the various cosmetic products like I thought I would, and what really stood out to me about Kylie’s site is the fun, colorful layout. It might not be everyone’s cup of tea, but I’m betting it appeals to her target audience.
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itsworn · 7 years
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2017 Sacramento Autorama: The Custom Capital Gets Deco
It’s been a good couple decades since I’ve traveled north up Interstate 5 in February, destination Cal Expo, in the heart of the state capitol, Sacramento. Home of the California State Fair for as long as I’ve inhabited this earth (1968), Cal Expo is also home to the Sacramento Autorama for the past 47 years, a tradition kept alive and well courtesy John Buck/Rod Shows et al involved.
While Cal Expo has been the center of the attraction since 1970, the Sacramento Autorama goes back 20 years further, back to its pre-Autorama moniker origins when founder Harold Bagdasarian persuaded fellow Thunderbolt club members to hold a custom car show at the Capitol Chevrolet dealership downtown in 1950. Over the next few years, the show continued to grow and “Baggy,” as he was known, took the once-innocent gathering he started for his car club to show off its unique customs to what is now THE indoor custom car show in The Custom Car Capitol of the World.
And to honor outstanding custom car achievements, the Sacramento Autorama has not one, but four top honors given out to the most distinguished of the contention. First and foremost is the Custom D’Elegance Award (chosen by a panel of judges), informally known as “The Bailon,” as it was originally established by fame customizer Joe Bailon back in 1953 as the Car of Elegance award. Next is what many a builder/owner strive for, the honorary H.A. Bagdasarian Memorial World’s Most Beautiful Custom Award (presented last year to Jack Kiely’s stunning Rob Ida–built 1940 Merc), as it’s held in similar regard as the AMBR. And as it would turn out, the 2017 AMBR winner, Bruce Wanta’s 1936 Packard, was not only crowned 2017 WMBC, but was also chosen by the Barris family as the recipient of the the Sam Barris Memorial Award (an honor established by Baggy after Sam’s death in 1967) as well as the aforementioned Custom D’Elegance. That right there, folks, is a triple crown the likes of which no other custom has ever been bestowed. The fourth and final of the B-awards, but by no means the least, the King of Kustoms, an honor John D’Agostino was more than happy to accept for his and Oz Kustoms’ efforts in the creation of “Rita,” his 1958 Packard concept custom.
Yeah, there’s plenty more to see at the Sacramento Autorama (Roseville Rod & Custom’s Builder of the Year display, the Drive-In outdoors for the locals, weather permitting, and even the Suede Pavilion), but for me, it’s always been about the customs. However, there was something new this year that definitely demanded my attention: the lowrider exhibit in the outskirt show buildings. Hosted by various Sacramento area clubs, it was killer turnout that kept each of the four buildings swarming with people all three days.
Even though the rainstorms had been causing havoc leading up to and during weekend (the only major casualty being Sunday’s Drive-In feature), the show went on, and the 67th Sacramento Autorama will go down as one for the history books for a car they call The Mulholland Speedster.
How’s this for some provenance: 2017’s AMBR-winning 1936 Packard, “Mulholland Speedster” built by Hollywood Hot Rods for Bruce Wanta, is also the 2017 World’s Most Beautiful Custom, as well as the recipient of the show’s top honor, Custom D’Elegance, and the Sam Barris Memorial Award winner to top the weekend off in historic custom style. Congratulations to Troy Ladd and everyone involved in the project—including our buddy and designer extraordinaire, Mr. Eric Black.
One of the contending customs that we were certain would come away with at least one of the Big B awards—but unfortunately didn’t—was Brandon Penserini’s 1936 Ford coupe-turned-roadster, “Venus,” from Altissimo Restoration, his shop in nearby Napa, CA.
The one Big B that Wanta’s Packard didn’t wind up with, the [Dick] Bertolucci Automotive Excellence Award, went to the gorgeous 1940 Ford Fordor DeLuxe finished for Mike McAuliffe by East Bay Speed & Custom.
Our pal John D’Agostino finished off the weekend by taking home the King of Kustoms for “Rita,” Oz Kustoms’ resulting efforts on his 1958 Packard coachbuilt custom that features a Bob Divine interior and John’s preferred rolling stock from Coker Tire.
I’ve never like sauerkraut—that is, unless it’s got a blown small-block and giant German helmet on top rather than the usual stinky fixin’s … in that case, it’s an acceptable dish, and one I’d definitely enjoy.
Years ago, the Grand National Roadster Show added a new feature to the Pomona Fairplex landscape: the Suede Palace. The success and popularity of that Quonset hut housed attraction spawned the birth of the Sacramento Autorama’s own version, the Suede Pavilion, held under the same semi-permanent tented building where the big awards ceremony is now held.
Truth be told, my favorite part of the Autorama—the newly added lowrider exhibit. Held in four of the satellite Expo Center buildings on the fairgrounds’ eastern side, the displays were organized by various Sacramento clubs, and the only downside: taking photos was nearly impossible due to the continuous large crowds.
Flaked ’n’ faded panel paint, wire wheels, and skinny whites; Bellflower tips; and tuck ’n’ roll—doesn’t get much better than this when it comes ’60s mild customs, does it?
Speaking of customs, when that word comes to mind, many automatically envision wide whitewalls, fender skirts, and all that jazz. But it’s 2017, and customs come in all shapes and sizes—and with varying wheel and tire combos, such as the Custom D’Elegance–contending 1957 Nomad from A&M Deluxe Customs.
A collective favorite here, Matt Taylor’s “Fool’s Goldster” 1927 Dodge roadster won the hearts of many well before its GNRS debut in Pomona earlier this year. Matt is the Taylor behind Taylor Made Kustoms in NorCal, and on his own (with a “little” help from Art Himsl with paint and Bob Divine with upholstery) stepped up with the big boys of the AMBR contention. When asked by judges where his stanchions were, Matt returned a short time later from a local stanchion supply with an armful of $7 chrome-wire paper towel dispensers—sorry, stanchions—to complete his display.
Best Ford In A Ford
By Tim Bernsau
When Art Vigil started his Model A project, he decided that it was going to be genuine Henry Ford steel, and it was going to be Ford powered. “Nothing else was acceptable,” he told us.
He’d always wanted to build a sedan delivery, and has owned this 1931 Ford for about five years. He spotted it at a car show and convinced the owner to sell it to him. The greatest appeal about this particular car was the exceptional condition of both the body and the original structural wood inside. During the course of the rebuild, a lot of that wood would get removed and replaced with custom-fabricated body and frame supports.
Roseville Rod and Custom is not far from Art’s town of Granite Bay, California, and performed the transformation of the sedan delivery from an already-nice street rod into the car that Art envisioned. It is a combination of ideas contributed by the owner and the team at Roseville. Art said that he set up a board at the shop and invited the builders there to write down there ideas for the Model A. Not every idea was used, but every idea was considered and the car you see here is a success because of everyone’s contribution.
The body is Model A with a 1932 grille and gas tank. The body was modified slightly—such as the lower rear sheetmetal extended to fit around the tank. Mike Cline sprayed the classic Ford Washington Blue paint. The 15-inch steel wheels are powdercoated to match, and dressed up with caps and rings. Inside, deep tan saddle leather is a beautiful contrast to the mirror-like exterior. Roman’s Upholstery extended the leather and square-weave carpet from the split bench seat to the rear door, complemented by the interior woodwork by John Delahunt and Russ McAnulth that has spectators at the 67th Annual O’Reilly Auto Parts Sacramento Autorama doing double takes. Vintage Air A/C and an iPod sound system further add to the appeal of the extra-large interior.
Dropping a Ford engine into his Model A was never in question for Art. With a previous 1932 coupe project, Art let friends convince him to use a Chevy 350. This time, he insisted on a drivetrain that was modern, show worthy, and Blue Oval from front to rear. That’s why there is a Ford 302 from Ford Performance mounted between those original steel front fenders. The engine is topped with Edelbrock throttle body EFI, and backed by an AOD transmission and Ford 9-inch rear.
You’re not likely to find a more true blue Ford fan than Art Vigil, or a nicer example of a Ford in a Ford than Art’s 1931 sedan delivery. The car is STREET RODDER’s pick for the Best Ford In A Ford prize, presented by Ford Performance.
Painless Performance Products/STREET RODDER Top 100
By Tim Bernsau
Painless Tech Tip:
Aftermarket Light Switches Nearly all aftermarket light switches, non-OE style, only require one power input. This input, in many cases, is circuit protected by a circuit breaker mounted on the rear of the switch. These will work well unless you have installed high power headlights as then the circuit breaker may trip, or open, prematurely.
1947 Ford Sedan | Brian George | Penryn, CA
When Brian George bought this 1947 Ford four years ago, its style was stuck in the ’90s. Roseville Rod & Custom took care of that. Body mods include smoothing the decklid, getting rid of the vent windows, and adding hood louvers. Chassis changes include a Heidts Mustang II-style independent front suspension, custom four-link in the rear, and AccuAir to drop it to the pavement. A Ford 9-inch rearend is stuffed with 3.78:1 gears. Under the hood lies a carbureted Ford 302. Wilwood discs slow the Budnik wheels. Inside, you’ll find Wise Guys seats, a Billet Specialties wheel, and Classic Instruments gauges. Silver Mist from PPG was chosen as the perfect color for the sedan.
1933 Ford Coupe | Mike Gnoss | Rio Linda, CA Sometimes taking your time pays off. Mike started working on his 1933 more than 25 years ago, but got pulled away by other automotive interests. In 2010, Tim’s Hot Rods performed a lot of the bodywork—chopping the top, tubbing it, shaving the body, and shooting the Blaze Red paint (a Chrysler color). Then the car was stored for another long stretch, emerging just weeks before the Sacramento Autorama. It went right back to Tim Lohrey for assembly, German leather upholstery by ABC Upholstery, and installation of the supercharged 509ci big-block built by Riolo Racing Engines. The aggressive-looking 1933 got done just in time for Sacramento.
1949 Chevrolet Sport Coupe | Brett Cowan | Sacramento, CA The Sacramento Autorama Suede Pavilion is where to find ’40s-, ’50s-, and ’60s-style hot rods and customs. Brett Cowan is a fan of Zocchi and D’Agostino customs, and was frustrated that his 1949 Chevy wasn’t finished. After some time with Marco Garcia and the customizers at Lucky 7 Customs, his custom has been getting some deserved attention. Custom mods include a chopped top, DeSoto grille, shaved sheetmetal, frenched headlights, and 1951 Merc taillights. Wide whitewall tires roll on the stock rims with Cadillac sombrero hubcaps—under the power of a Chevy straight-six engine. The pearl paint has a green apple look, but the color, like the car, is called Devil’s Lettuce.
1931 Ford Model A Coupe | Jeff & Maryann James | Newcastle, CA The barn-find Model A was initially built quick in 2012 as something to drive while Jeff’s 1954 Chevy custom was being built. Chopped the day after he bought it and on the road in two months, it eventually ended up at Miller Metal Works in Texas. Jesse Miller built the hood and sides and the decklid, added those wheel caps, punched louvers everwhere, shot the paint, and basically transformed the car. Lefty from Sacramento Poor Boys added the graphics. SO-CAL Speed Shop boxed the frame and provided many traditional suspension parts. Six Strombergs feed the Buick Nailhead. Like the rest of the coupe, the interior is a work of art, especially the leather interior.
1927 Dodge Roadster | Matt Taylor | Concord, CA Three weeks before appearing in Sacramento, Matt took his 1927 Dodge to the Grand National Roadster Show to compete for the AMBR award. Built in Matt’s tiny Taylor Made Kustoms garage, the Dodge was a hit with every fan of early ’60s show customs, and won the George Barris Memorial Kustom D’Elegance. Not bad for a car that started as a cowl and a pile of parts. Customization extends from the suicide straight axle to the chrome 1962 Impala rear, and every inch in between. The engine is a well-detailed 350 backed by a Powerglide. The steering wheel is 1960 Dodge Polara on a 1955 T-Bird column. The paint was handled by none other than the legendary Art Himsl.
1927 Ford Model T | Ralph Locke | Fairfield, CA In 1954, teenaged Ralph was building a 1927 T pickup. Three weeks after finishing high school, he joined the army and sold the car to a stranger he met while waiting for a bus to Fort Ord. This time around, he worked with Arnold, Angelo, and Frank Zucchi at Zucchi Restoration to fulfill a lifelong dream. The body, frame, suspension parts, and other components are from Shadow Rods. The 59AB Flathead was ported and loaded with an Isky cam. The rearend is a Winters quick-change. The drilled I-beam and split ’bones are traditional stuff, and the four-corner Wilwood disc brakes are a modern upgrade. The interior includes custom buckets, European cord carpet, and Classic Instruments gauges.
1955 Chevy 210 Sedan | Paul Schulz | Folsom, CA Paul’s 1955 was just finished when it won the Third Place award in the 2016 Hot August Nights Cup competition in Reno. Builder Leonard Lopez at Dominator Street Rods came up with the idea of sectioning the iconic body. “I asked him how many cars he’d sectioned like this. His answer: None, and probably no one else has either.” The results are amazing. The chassis is an Art Morrison Enterprises creation. The wheels are from Budnik’s G-Series. Eight injector stacks from the Imagine EFI system top the stroked LS3 engine, backed up with a TREMEC T6 and a 3.70-geared Ford 9-inch. The contemporary interior includes leather-bound seats upholstered at Elegance Auto Interiors.
1935 Ford Coupe | Paul Bradley | San Jose, CA At first, Paul wanted to build his 1935 coupe as a beater, but after meeting Brandon Flaner and the East Bay Speed & Custom crew, “I decided to build a nice car.” The coupe had been sitting untouched in a Compton, California, garage for 30 years when it was spotted by some utility workers (the doorjamb still has an unrepaired bullethole). Eventually it ended up at Paul’s and East Bay’s rebuild began. The 59AB Flathead has dual 97s, and is tied to a 1939 Ford trans. A 5-inch dropped axle, 1935 spindles, and reversed eye springs contribute to the hot rod stance. The nostalgic interior features pleated Naugahyde on a 1937 split bench, a 1948 DeLuxe wheel, and Stewart-Warner gauges.
1936 Ford Coupe | Tom Smith | Roseville, CA This year marks the 25th year for Roseville Rod & Custom, located near Sacramento. The milestone was celebrated at the Sacramento Autorama with a two-row display of Roseville-built cars. Tom’s 1936 coupe was at the front of the line. The eye-attracting tan paint covers a chopped coupe body over a TCI frame. A Heidts Mustang II frontend and four-link rear carry the car. Wide whites from Coker and spoke wheels from Wheel Vintiques continue the exterior’s classic look. The interior is brightened with Sid Chavers’ tan upholstery, a woodgrain dash, and light tan carpet. Classic Instruments fill the woodgrain dash. Tom chose a blown 383 Chevy to power his sweet 1936.
1935 Chevy Coupe | Charlie Freeland | Rescue, CA “It had to be a Chevy,” Charlie told us. When he found this Standard Coupe, it was an early ’80s street rod with a 3-inch chop, gray tweed interior, and failing bodywork. After the complete rebuild, it retains the original body frame wood—but the black paint is replaced with beautiful Midnight Blue. A carbed ZZ4 and 350C trans move the coupe down the road. Chassis components include a Mustang II-style front and four-bar rear, with 3.0 gears in a 9-inch. The 17- and 18-inch Torq Thrust II wheels fill the fenders. Leather upholstery dresses up the interior. Other components include a Billet Specialties steering wheel, Auto Meter gauges, Vintage Air, and an Alpine stereo.
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