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aion-rsa · 3 years ago

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The He-Man Movie You Never Saw Would Have Been Like a Buddy Comedy

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While Masters of the Universe: Revelation reignites Mattel’s toy-spawning fantasy franchise, the Kevin Smith-conceived Netflix animated series arrives in the recent wake of an ill-fated film project. Indeed, Sony/Columbia settled on up-and-coming directors Aaron Nee and Adam Nee to conjure new live-action exploits of He-Man in the land of Eternia, which progressed to pre-production and cast Noah Centineo in the starring role before the pandemic put an end to the endeavor. Interestingly, David S. Goyer, who wrote an early draft of the Masters of the Universe screenplay, reveals what would have been a rather unique dynamic at its center.

Contrasting with the potentially-controversial protagonist direction hinted in early reviews for Revelation, the driving concept for the long-planned Masters of the Universe live-action movie was to focus on the friendship between He-Man and his loyal giant green, orange-striped tiger steed, Battle Cat, as Goyer reveals to THR. Of course, most of the franchise’s various iterations present the narrative notion that Eternia’s sleepy slacker royal prince, Adam, secretly transforms into “the most powerful man in the universe” when he imbues himself with mystical energy from the Sword of Power, after which he directs said energy toward his cowardly talking pet tiger, Cringer, transforming him into the hero’s ferocious loyal steed, Battle Cat. However, Goyer reveals that—during his tenure with the script—the film would have broken precedence by putting a comically dysfunctional twist on the traditional hero/steed relationship.

“I legitimately liked the script that we did,” says Goyer. “We were going to do it as a feature at Sony. What I liked the most about it was that it was mostly about a friendship between He-Man and Battle Cat. The idea was there had always been He-Men and different recipients of the Sword of Power and that Battle Cat had always served at their side. And this was a new He-Man that Battle Cat and many people didn’t think was worthy of the sword.”

Contextually, while mainstream representations like 1983-1985 animated series He-Man and the Masters of the Universe and the 1987 Dolph Lundgren-starring Masters of the Universe movie mostly stuck to superficial backstories, the franchise’s deeper mythos—once canonically-inconsistent across the decades in its multimedia forms—has started to uniformly embrace the idea that Adam himself is merely the latest recipient of the mystical Sword of Power, which several generations earlier, was wielded by his ancestor and ancient castle namesake, King Grayskull, after which the sword—and the sublime power it yields—was passed down to various other “He-Men.” Indeed, even Revelation’s trailer showcases King Grayskull, implying continued adherence to the hand-me-down dynamic, and the possibility for time-travel-facilitated team-ups with previous versions of Eternia’s hero. Likewise, the concept was integral to Goyer’s screenplay, since Adam’s newfound role as He-Man would have come attached with an intimidating, seemingly-unattainable legacy, of which this wryer, more-critical version of Battle Cat seems acutely aware. Thus, Adam’s arc as an upstart hero would have hinged on earning the ornery Battle Cat’s stamp of approval, yielding buddy comedy style interactions.

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“So, it was a story of the character earning the sword, but, more importantly, earning the friendship of Battle Cat, who just thought this guy [Prince Adam] was a lightweight,” explains Goyer. “I really liked it. I thought it was a fun story. There was a lot of humor in it and it creeps up on you because Battle Cat sort of grudgingly accepts him, and it’s Battle Cat’s acceptance of He-Man that gave this version of the story heart.” Goyer’s comments seem to shed light on the reasoning behind the eventual casting of Noah Centineo (pictured just below), who—hardly the WWE-level jacked giant one would envision for the role—seemed set to convey Adam’s getting-by-on-good-looks slacker personality, having come from the realm of teen comedies, notably from his role as Peter in 2018 Netflix rom-com To All the Boys I’ve Loved Before and its two sequels. Thus, it not only would have been interesting to see how a fully-transformed He-Man himself would have manifested in this live-action attempt, but how Battle Cat could have served as his shade-throwing foil.

Alex Israel

Unfortunately, fate would not favor this particular Masters of the Universe live-action reboot project, which saw several attempts—notably the Lord of the Rings/Game of Thrones-influenced version under director Jeff Wadlow. Those years saw several hints about the movie in the form of early versions of its logo and various social media-teased concept art designs, which revealed a motif that—perhaps in response to Marvel’s 2014 success with Guardians of the Galaxy—leaned into the space-esque sci-fi technology side of the franchise’s traditional amalgam with savagery and sorcery. Moreover, back in 2015, one of the project’s more enthusiastic early proponents, producer DeVon Franklin, tweeted a concept image of what the Battle Cat in question might have looked like—albeit as a CGI creation—in this particular live-action milieu. Yet, despite years of hype and even a projected, never-realized March 2021 release date, the project came to an ignominiously anti-climactic coda, notably affirmed this past April after Centineo reportedly exited the role from the COVID-stopped production.

@danmillerNY @TheOneHansen @Guardians I totally agree!!! pic.twitter.com/6g6W18D9J7

— DeVon Franklin (@DeVonFranklin) March 3, 2015

Regardless, Goyer, having made a monumental mark on the industry with The Dark Knight Trilogy amongst other heavy hitters, isn’t thinking about He-Man and Battle Cat these days, since his hands are currently tied with two lofty tasks as the credited creator of Netflix’s developing television adaptation of Neil Gaiman’s The Sandman and, more imminently, the Apple TV+ television adaptation of Isaac Asimov’s sprawling novel franchise, Foundation. However, Masters of the Universe, while still generally associated with ‘80s pop culture, has managed to exist in the periphery across the ensuing decades. Oddly enough, we’re living in a time in which the franchise permeates (not even counting Netflix’s recent animated series centered on He-Man’s estranged twin sister, She-Ra,) with two major animated series (one of which is a developing CGI series,) and several current toy lines, two of which are sold at retail stores worldwide. Thusly, Revelation could prove to be the iteration that truly brings it back to the forefront, perhaps leading to another live-action attempt—maybe by Goyer again.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

In the meantime, Masters of the Universe: Revelation will release the first part of its inaugural season on Netflix on Friday, July 23.

The post The He-Man Movie You Never Saw Would Have Been Like a Buddy Comedy appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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imagelightningstrikes · 3 years ago

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Iconic Commercial Logo Dimension

• American Photographer Mark Fisher •

Time Changes Everything

The Company Tried To Move From A Historic Symbol,

By Reworking The Features Of Illustration.

Losing The Familiar Touch On The Packaging.

Not Everybody Keeps Empty Boxes Of Product.

So, Awareness Slips Away. Goes Really Un-Noticed.

The One That Appears Is From 1983.

Now Today, Only A Lakeshore Landscape Appears.

With The Group Of People, Standing On Hundredth Anniversary

Of The Formation Of Farmers, Convening Together To Sell

Their Dairy Products. Empty Handed Without Pride Of History.

The Original Start Date Is 1921.

Go Figure, Today's Butter Is Half The Price To It's Competitors.

Trying To Gain Back It's Market Share. This Of Course Is In The East

Coast Retail Locations, Three Dollars Was A Bargain.

Over And Out

∆

Captured Under Existing Light.

Modified For The Web Presentation.

Mastered With Shaping And Sizing

Utilizing Digital Techniques

While Applying The Layout

Through Photo Graphic Engineering .

Manipulated With The Building Process

Assembling The Structures

Within The Frame Field .

Maneuvering The Created Assets

To Complete The Visual Results

During Post Production

In New York City

•

Just Be Creative™

•

No Second Usage Without Permission

Musicians Used In The Web Posts Are Professionals

and Require Fee For Any Publication or Usage.

All Have Management.

Removal Of The Image, Scripting Implant, Or Blog May Violate U.S. Laws.

Photographer Mark Fisher™ Is

A Well Accomplished Published Photographer

In Beauty, Fashion, and Music Photography.

New York City

Based Image And Filmmaker

Has A Worldwide Following.

Is A Member Of The Press.

There Is Fan Page On Facebook.

http://www.facebook.com/AmericanPhotographerMarkFisher

∆

Commissions Accepted Through Contract

• New York • • Paris • • Milan • • London •

Private Client Request Accepted.

Website www.americanphotographernyc1.com

For More Info Contact

First Stamp Multimedia

[email protected]

Located In

New York, New York

Contact Also

[email protected]

In New York City

Or Contact Mark Fisher

[email protected]

In New York City

Thank You



Veteran Of The United States Army.

Trained And Educated In Medicine.

•

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theultimatefan · 4 years ago

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Snoop Dogg, Futura, Ron English Among Artists In ‘Project70’ Series Throughout 2021, Launching Today

On the heels of its overwhelmingly successful Project 2020, Topps today unveiled the first cards in Project70, a new series which celebrates the 70th anniversary of the first Topps baseball set in a comprehensive program featuring 51 premier artists and designers from around the world each creating 20 cards of their own player and card year design choice. The set commemorates both the initial year of 1951 and the 70 years that it has produced baseball cards, with three new issues daily, each available for 70 hours. Similar to its Topps NOW and Project 2020 products, Topps will print only the number of each card ordered in that time frame.

The set features premium, thick trading cards encased in a protective plastic case, as well as several premium offerings. Each day’s new pieces are available at http://www.topps.com/project70.

The creators selected to participate comprise a diverse group that includes the likes of rap musician Snoop Dogg, graffiti artist Futura, pop artist Ron English, jeweler Ben Baller, painter Greg ‘Craola’ Simkins, comic and album artist Alex Pardee, sneaker artist The Shoe Surgeon, designer Sophia Chang and many more. Nineteen of the 20 artists from Project 2020, including Baller, Chang, Gregory Siff, Fucci, Mister Cartoon and others return for Project70.

In contrast to Project 2020, in which artists were assigned specific player cards to interpret, Project70 allows each creator to choose any player and card design from the last seven decades.

“Project70 is one of our most ambitious sets ever, celebrating 70 years of Topps baseball cards in a contemporary way,” said Jeff Heckman, Global Director of Ecommerce. “Giving these creators the freedom to select the players and designs they want to interpret as they see fit means we will have very different cards from these uniquely and diversely talented individuals.

“We can’t wait to see what their fertile minds will produce, and we know that collectors and baseball fans share that anticipation,” Heckman added.

In addition to the base units, Topps is randomly inserting a limited number of rainbow foil parallel cards, numbered to 70, plus a foil numbered 1/1 Gold Frame for each card, into print runs. Collectors who purchase all 20 cards from an artist will also receive a gold-stamped bonus print featuring all 20 Project70 cards from that artist.

The artists contributing to Project70 include:

Action Bronson, musician, New York Alex Pardee, comics/apparel, Los Angeles *Andrew Thiele, art/design, New York *Ben Baller, jeweler, Los Angeles *Blake Jamieson, pop art/portraits, New York Blue the Great, painting, Los Angeles Bobby Hundreds, illustrator/writer/photographer, Los Angeles Brittney Palmer, model/artist, Los Angeles CES, graffiti, Bronx, New York Chinatown Market, streetwear, Los Angeles Chuck Styles, fine art, Philadelphia Claw Money, public art, New York Distortedd, illustrations, Philadelphia DJ Skee, artist/TV host, Los Angeles *Don C, streetwear, Chicago *Efdot, murals, New York *Ermsy, cartoons, UK and Paris *Fucci, pop painting, Montreal and Toronto FUTURA, graffiti, New York Greg “Craola” Simkins, surrealism, Los Angeles *Gregory Siff, painting, Brooklyn and Los Angeles Infinite Archives, contemporary art, fashion *Jacob Rochester, pop art, Los Angeles Jeff Staple, graphic and fashion designer, New York *JK5, tattoo, Brooklyn Jonas Never, murals, Los Angeles *Joshua Vides, stencils, Los Angeles *Keith Shore, creative design, Philadelphia *King Saladeen, murals, Philadelphia Lauren Taylor, mixed media, Vancouver Matt McCormick, multimedia, Los Angeles *Matt Taylor, poster design, U.K. Mikael B, graffiti, impressions, Copenhagen Mimsbandz, wristband art, Los Angeles *Mister Cartoon, tattoos, Los Angeles Morning Breath, graphics, apparel, San Francisco, New York *Naturel, murals, Washington D.C. New York Nico, filmmaker, New York *Oldmanalan, streetwear, Sacramento POSE, pop artist, Chicago Quiccs, toy design, Manila Risk, sculpture, graffiti, Los Angeles Ron English, pop art, filmmaker, Jersey City, N.J. Sean Wotherspoon, streetwear, Richmond, Va. The Shoe Surgeon, streetwear, Los Angeles Snoop Dogg, rap musician, Los Angeles SoleFly, streetwear, Miami *Sophia Chang, design, New York Toy Tokyo, pop art/toys, New York *Tyson Beck, logo art, Adelaide, Australia UNDEFEATED

*also participated in Project 2020

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ranatavaqad-blog · 5 years ago

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The graphic universe of your event

You want to organize your event and you still do not have a visual identity?

What is a visual identity?

A visual identity is the set of graphic elements that represent the brand (Logo, Colors, font, symbols ...). These elements are gathered exhaustively in a document called a graphic charter. The latter describes in detail the different conditions of use of your elements. So, respecting your charter, your identity will always be there regardless of the medium used.

In addition, having a visual identity is fundamental to make yourself known. It helps to keep consistency between your communication media. Thus participants quickly identify the event and facilitate its memorization.

Identify your needs

Before you start creating your identity, think about how you want to be perceived. Then identify the personality of your event, whether it is festive, or rather institutional. Indeed, your visual identity must combine your values with visual atmospheres! This will better target your potential participants who will recognize themselves through your graphic universe.

The graphic elements:

The logo:

The logotype is the first identification symbol. It allows you to transmit your references and differentiate yourself from the competition.

The graphic universe

All the elements that revolve around the logo is the graphic universe: they dress the various communication media. This universe makes it possible to keep a coherence between the different creations and thus to bring richness to your message.

The tickets

Tickets go beyond simply allowing entry to your event. It is a medium of communication on which some participants build a sentimental value. They create excitement before the event, and a memory after it.

The badges

Badges make it easy to identify your attendees and give you more control over access. , create 100% customization badges where you can provide maximum information to your participants, as well as the ability to print badges on demand on the day of your event thanks to the public reception desk.

Website

It puts at the disposal of your public the necessary information as well as multimedia content (place, articles, photos, videos, music ...).

The website is the showcase of your event; it must be consistent with your graphic universe.

The posters

A physical support that allows you to take your event beyond the web platforms. It is equally important to keep your identity on this format there, to remind your universe on the web and keep a link between the different media used.

The key point for the success of your exhibitions and fairs: your exhibitors!

Exhibitors, partners, sponsors, or speakers, you organizers must present them the best your event to make them come ... and that will determine the success of your event!

But what are the factors that will push an exhibitor to come on your show? What actions to put in place to bring them to your event and to make them satisfied?

Do not forget that for them, coming to your event is a big investment! You must therefore offer them a service that will allow them to make profitable their presence in your fair or fair: easier lead acquisition, increased visibility, customer loyalty, develops your image...

Develop the reputation of your exhibitors!

You have all the keys in hand to make your event a success! Exhibitors on your event will make the success of your event. Do not hesitate to include them in your communications to arouse the envy of your potential visitors to come on the day J.

You can make publications on your social networks to present them ("1 day 1 exhibitor"), by publishing on your many social networks, you will reach many people. In your newsletters, you can teaser on your exhibitors ("they joined us, you can meet them during the event!"). Finally, you just have to dedicate a page on your website, the grail for the long-awaited visibility.

Do not miss the opportunity to bring media coverage to your event, which may stir up the curiosity of potential visitors...

Give Them importance

Your exhibitors often have a very consistent database. Why not use it to combine your desires, and those of your exhibitors, by maximizing the number of visitors? Give invitations to distribute to your exhibitors! What's more, you'll prove to them that visitors will be their target! And why not enter a new era by offering to digitize this shipment? It is true that the classic method of sending invitations is costly in time and money! No more envelope folding, no more stamps go to e-invitations! With tools like the one offers, they will be able to customize their emails, send invitations to their entire database in one click, and also follow their invitations statistics! A saving of time and significant money...

Offer them qualified leads

Their arrival is simple: they must make their booth profitable and acquire as many leads as possible! So you have to make it easy for them! What more can be done than to bring them visitors? Give them a tool to capture this visitor! Exit the paper files, they need a centralized and simple tool to collect these potential contacts, and quickly. Offers an application that allows each member of the stand in an instant to make a contact by scanning the visitor's badge. He may add personal information. More analysis a posterior, the commercial will be able to use their file in real time. Every day this file will be sent by email with the leads of the exhibitors, the manager and the various members. No more reprocessing, the tool is turnkey! Moreover, you will motivate the teams!

#event management #event organizer #corporate Events #event management companies #Event Planner #party decorations #corporate event management #Wedding Planner #Wedding #wedding decorations #wedding ideas #catering #catering Services #catering Services in Lahore

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myemergingtechnologies-blog · 7 years ago

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Final Project Week 8

My name is Lisa James. I'm a graphic artist, entrepreneur and a visionary. My plan B in life is to achieve my undergraduate degree in multimedia graphic design. I'm three courses away from completing that task at the age of 54. My goal was to continue and get my masters in honor of my aunt, Pauline Hudson.

Shout out to my professor Heather Austin. She has done a remarkable job. The course structure and the way she has couched and council the class was just priceless. She made herself available to the student at all times.

When I first signed up for MDD 410 I had no idea of the course. My advisor said it was a requirement and I jumped right in. Unbeknownst to me, it was one of the most exciting graphics classes I've taken on my journey for this undergraduate degree. Discourse took a very close look at Technologies mapping sensors forms and argumentative reality. We learn how data becomes manifested through devices such as a 3D printer. We had multiple lab projects that consisted of the following:

· How to create a Google map

· How to create a mock-up reality View

· We discovered what QR codes are and how to create

· Create online games in Google Draw

· Create blogs on Tumblr

My favorite was creating the game in Google draw and 3d printing.

The exposure to all these different technologies and the things you can do and multimedia design is just priceless. Creating blogs it's not my thing, but enjoyed creating them on Tumblr. We were tasked to create three blogs and discuss multimedia topics and technologies.

This class opens your eyes up as a graphic designer to the numerous technologies that are out there in the world of multimedia. I can't see the whole picture, but enough to be dangerous.

The key takeaways from this class would be having an excellent professor, and discovering a few critical points in multimedia graphics. It is intrigued me to look and want to find more items to expand my knowledge in the graphics industry.

This course also helps me improve my Photoshop skills. When creating the designs for this course, it's pushed me out of my comfort zone. It made me take the vision in my head and bring them to life. IT can’t be hard to do if you don't have the right skill set. Researched it learned a lot of things. I saved all the new training tips for future references.

My final graphics project, I chose to create a 3D print image using the L and J of my name. Used my iPad and signed my signature. I've been doing this as far back as I can remember. I combined the L and J to look like an emblem. It's my signature stamp on all of my graphics, inventions and other designs. It's something I've wanted to do for a long time and just never did it.

Graphic created by Lisa James, L.J. (2017) Logo. Created with PhotoShop CC. Personal graphics created by author.

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luxmentis · 7 years ago

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To continue with our short list series, here are a few strange and unusual items bound to be loved by someone.

We will have more to come, including a vernacular photography catalog before the Boston ABAA fair and of course, the Boston show list. Featuring new and exciting things!

With that in mind, our next fair is the 41st Annual Boston International Antiquarian Book Fair, November 10-12, 2017. We’ll keep you posted for passes for the Friday night opener!

***********************

Countess of Caithness, Duchesse de Pomar [Marie (Mariategui) Sinclair]. A Midnight Visit to Holyrood. London: C.L.H. Wallace, Philanthropic Reform Publishers, Oxford Mansion, 1887. Limited Edition. Originally printed for private circulation, but published on the three hundredth anniversary of the execution of Mary Stuart, February 8th, 1887. Slight foxing on the frontispiece and portrait of Mary Stuart, and a strange series of period puncture wounds to front cover penetrating text to stab portrait of Mary, Queen of Scots on page 45. Else, tight, bright, and a scarce and odd book. Original dark green cloth, lettering and pictorial device on front and back covers, edge, in gilt, black coated endpapers. Frontispiece with tissue guard and one portrait. 103 pages, 2 unnumbered leaves of plates, illustrations, Very Good+. Hardcover.

Recollection of the communication between Marie Countess of Caithness and the ghost of Mary Queen of Scots from Holyrood House in Edinburgh. Marie used to visit Holyrood House near midnight and claimed to listen to the dead queen’s spirit voice. The work was originally published for private circulation only, and it is likely that the Countess gave copies to her friend exclusively. This edition, printed by C.H.L. Wallace appears to be limited.

The Countess was increasing influenced by theosophy and universial In 1876, and joined the Theosophical Society founded by known occultists Madame Blavatsky and Colonel Olcott in New York. In 1884, during their stay in Paris with Lady Caithness, Blavatsky approved the creation of the “Theosophical Society of the East and West,” the French branch of the Theosophical Society. Lady Caithness’s theosophy was marked by esoteric Christianity influenced by Jakob Boehme and Swedenborg. She held a spiritualist salon in her Parisian mansion, every Wednesday from spring to autumn in the early 1890s. As to the damage inflicted on the book itself, a few theories arise: it is possible it is just book vandalism. A more compelling and fascinating theory is the book was part of hysteria or ritual to evoke the spirit of Mary Queen of Scots. The book is inscribed to “Miss Blackwell” of which there are two well-known spiritualists in London and Paris; Anna Blackwell and Elizabeth Blackwell. Anna was a prolific writer and participated in the spirit communities during the late 19th century in London and Paris. It is also recorded she was a medium and was said, at times, to be tormented by the ghosts and spirits that threatened her. (#9384) $350.00

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Fleischauer, Louis ; Aesthetic Meat Foundation. Flesh Art Book. Berlin: Aesthetic Meat Front/AMF, 2014. Limited Edition. Tight, bright, and unmarred. Cased in leather ‘corset’ (see below). 44pp. Illus. (color and b/w plates). Fine in Fine Case. Hardcover.

Limited first edition of 36, this edition is 1/36, with the trade edition cased in a custom leather ‘corset’ cover binding, secured by metal grommets and two leather strap loops. Leather still bears a hide scent and features a painted patina, a fire burnt treated, manipulated, and animal-like with elements cut into tails. The AMF logo is carved into the leather at the top of the cover, as well as the edition number: 1/36 on the back. Text printed on high quality matte clay coated medium weight paper. Signed by Louis Fleischauer, “Pure Kaos Against Total Control” 2016, on the opposite end papers. Includes a small archive of performance fliers for AMF [2002-2015], AMF Korsets / Fleischauer Creations marketing cards and a DVD-R of live performances, signed with a fingerprint impression and numbered 1/36. Edition is divided into several sections: Flesh Art Manifesto, Sculpted Skin (Wearable Art/AMF Korset), Rituals of Transformation, Human Instruments, Aesthetic Meat Front (Rituals + Actionism), Transformed Flesh, Interviews + Random Thoughts. Scarce copy, most editions are with private collectors, this is the last acquired copy from AMF with the leather casing and performance inclusions and also is the first numbered and sculpted edition, as well.

This book is a retrospective of Aesthetic Meat Foundation, (Aesthetic Meat Front is the performance collective of the entire art and creative project of Aesthetic Meat Foundation), featuring a mix of ritual, sculpture, and wearable art. AMF performances in the United States are generally rare, but emulate the same power as Ron Athey and Einstürzende Neubauten fused with an anti-industrial complex manifesto. “Louis Fleischauer, is a sculptor, and body-artist using organic materials such as animal hides, bones, flowers, blood and his own skin. In his public rituals he turns humans into living sculptures and instruments, including his own body. Through a mix of agony and euphoria Louis falls into a state of trance. His sculptures are a reflection of this experience.” – from the AMF biography. (#9084) $550.00

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Flesh Art Book, AMF

Sprinkle, Annie. Annie Sprinkle Self-portrait [MSS Notations]. [No Place], 1981. Unique. Signed by Sprinkle with numerous notations all over the image, notation at rear, else bright and clean. 16x24cm. b/w photograph. Signed by the artist. Fine. Photograph.

“Original self-portrait photograph of sexologist Annie Sprinkle. Sprinkle is known as the “prostitute and porn star turned sex educator and artist.” Annie Sprinkle began working at the ticket booth at Tucson’s Plaza Cinema at 18, when Deep Throat was playing. The film was busted, and when Sprinkle had to appear in court as a witness, she met and fell in love with Deep Throat’s director, Gerard Damiano, and became his mistress, following him to New York City where she lived for twenty years. Annie’s first porn movie was Teenage Deviate, which was released in 1975. Perhaps her best known mainstream porn featured role was in ‘Deep Inside Annie Sprinkle’ (co-directed by Sprinkle and sexploitation veteran Joseph W. Sarno) which was the #2 grossing porn film of 1981.

She is considered a role model for a new generation of feminists, she challenges old conceptions and established role models of sexuality and was a pivotal player in the 80’s “sex positive feminist movement” and has long championed sex worker rights and health care. The photograph is heavily annotated with a detailed analysis of the image.The verso contains the anotation p.4 102% suggesting that the image was published although we have been unable to trace the publication. A fantastic image of a true sex goddess.”

Together with Annie’s “Post-Porn Modernist: My 25 Years as a Multimedia Whore”, which includes a ‘clean’ version of the image with the caption, “It was this latex ensemble, which I had brought back from Europe, that started America’s latex trend (or so it seemed to me). It made quite a splash at the HFC [Hell Fire Club]. Or should I say quite a splash was made on it.” (#8115) $1,250.00

Pell, Sara C. In Dillafluff Land. New Jersey: Standard Publishing Concern, Publishers, 1910. First Edition. Light shelf/edge wear, front boards loose with light toning, few page tears, one leaf loose but present, American Red Cross stamp, else bright and unmarred. Oblong 8vo. Approx. 58pp. Illus. (b/w plates). Good+ in Wraps. Hardcover.

“Esther from Aunt Ann, Xmas 1910”. The black and white Illustrations are by A.G. Learned. Extremely scarce, no known copies. Odd, children’s nonsense nursery rhymes with accompanying anthropomorphic figures very similar to Dr. Seuss’ characters created much later, and similarly, the rhyming is reminiscent of Edward Lear. The book was marketed and reviewed in major publications, but little is known about the author or other published books. The characters were affectionately described as “freakish” and “queer” in reviews. (#9118) $150.00

Woven paper undergarments, Diane Jacobs

Jacobs, Diane. Woven Paper Undergarments [Bra and Panties]. Portland, OR: Scantron Press, 2010. Limited Edition. Bright and unmarred. Woven paper strips, letterpress printed, sculptural. 11x23x3″ np. Fine.

“In this body of work I intend to expose the tenacious, white, patriarchal power structure by using language as my witness. Over a three-year period I collected slang and derogatory words that exploit women. The exhaustive list came from friends, family, and several dictionaries on slang. Strangers also contributed by writing on anonymous pink and blue cards their answer to the question what are the worst names you have ever been called? In my first projects, I sculpted hats, bras, and underwear made of letterpress-printed woven paper. This series of work makes feminist references to craft, the body, and a misogynist culture.” (#8766) $2,000.00

Greer, John Michael. The Weird of Hali: Innsmouth. Oregon: Arcane Wisdom Press, 2016. Limited Edition. Tigh, bright, and unmarred. Custom bound in green faux alligator laminate cloth boards with gold foil inlay embossed Lovecraft image, smythe sewn, and signed, hand-numbered by author with hand-printed ink stamp image of H.P. Lovecraft. Colored endpapers with image of Old Ones and include high gloss print insert of Lovecraft inspired artwork. 9.5×6.25”. 276pp. Limited edition of 500 copies. Fine. No DJ, as Issued. Hardcover.

Cover art by Caniglia and book design by Larry Roberts. “Like every other grad student at Miskatonic University, Owen Merrill knows about the Great Old Ones, the nightmare beings out of ancient legend that H.P. Lovecraft unearthed from archaic texts and turned into icons of modern fantasy fiction. Then a chance discovery—a lost letter written by Lovecraft to fellow Weird Tales author Robert Blake—offers a glimpse into the frightful reality behind the legends, and sends Owen on a desperate quest for answers that shatters his familiar world forever.

As he flees across the witch-haunted Massachusetts landscape toward the mysterious seaside town of Innsmouth, Owen finds himself caught up in a secret war between the servants of the Great Old Ones and their ancient enemies, a war in which yesterday’s friend may be tomorrow’s foe and nothing is as it seems. The history of the world is not what he has been taught—and the tentacles reaching out for him from the shadows of a forbidden past may hold not only his one chance of escape from the terrifying forces closing around him, but the last hope of life on Earth…”(publisher’s note) (#9096) $75.00

Greer, Michael. Weird Hali of Innsmouth

Bizarre Female Domination [Personal Scrapbook]. unknown, nd [circa 1970s]. Unique. Light shelf/edge wear, two leaf loose, very slightly musty, else tight, bright, and unmarred. Brown paper wrappers, mounted images/text at front and read. 4to. np. Illus. (color and b/w plates). Very Good. Original Wraps.

A very thorough and engaging collection of imagery and text involved, as the name implies, around the area of the BDSM scene from a Domme female/submissive male perspective. Neatly tape mounted images on lined white paper, the color and b/w images range from relatively small (approx. 2′ square) to full page (cut from magazines and original photographs). There are also some short text elements around the subject matter, too. Most interestingly, interspersed throughout are full page collections of ‘want ads’ from around the country and Canada…the shared qualities of most reflect either specific interest or, perhaps, that he ‘knew’ them. Overall, an eccentric stimulating collage of pre-internet collection of bondage erotica. (#8389) $450.00

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Anon. Sumatran Batak divination book [pustaha]. Indonesia, Early 20th century. Unique. Twelve (two-sided) panel concertina fold; fastened on handcarved alim (or agarwood) tree-bark original boards; inscribed and drawn on smoothed and pressed alim tree-bark; 4.75 x 39″ (unfolded); illus. Handwritten in red and black ink pigments. Boards stained with natural pigments, in remarkable condition, less one split in bark panel. An exceptional and critical book for Indonesia history and culture. Very Good. Hardcover.

The ‘pustaha’ [named by the Batak people of interior province of northern Sumatra, Indonesia] are manuscript books constructed and composed by their “datu” or magicians and healers. Origins of the pustaha remain somewhat clouded to non-indigenious research, although, records of provenance date to the 18th century. The Batak people settled mainly in the Lake Toba region of North Sumatra, and included three dominant dialects: Toba, Angkola, and Mandailing.

The books themselves are frequently made with alim tree-bark; written and illustrated with other natural ink pigments. The pustaha is significant for the Batak, as the texts are idiosyncratic to the datu, meaning they are didactic tools for apprentices, but also for members of the community to interpret important decisions and advise on community issues, as reconciled by the datu. The books are often written in note-like script. The script is almost illegible for most members of the community, and indecipherable to Western scholars, however the syllabe script is thought to be derived from East Indian Sanskrit or to some scholars, Indian Palava script. Many contemporary pustaha were made and sold to tourists of the region, as well. The content of the books vary, but generally are divination books, including diagnosis of illness, protective/destructive magic, and acts of cult. Many of the books are also astrological in nature and contain solar and lunar charts and tables, and in the case of this particular pustaha, which contains animistic figures. This book features four carved lizards in low relief on one of the boards, which is associated with fertility and fertility rites. The verso has a carved image of star or a floral symbol. Many of the figurative llustrations in the book [a child] [a goddess figure with serpents] [star], also allude to creation myth, as the ‘tendi’ manifestation of ‘life’ and ‘death’ represented these symbols. The text is inscribed and illustrated on both sides of the bark. Although colonized by the Dutch government in the 19th century, many Batak people retain indigenious treligious beliefs, although increasingly marginalized.

Voorhoeve, P. “Batak Bark Books,” Conservator, University of Leiden, John Rylands Library and the Manchester University Press, 1951.

Teygeler, Rene. “Pustaha. A Study into the Production Process of the Batak Book,” 1993. (#9148) $1,200.00

Sumatran pustaha

[Count of Saint Germain (attributed)]; Koss, Nick [ed.]. Triangular Book of St. Germain. Seattle, WA: Ouroboros Press, 2015. Limited Edition. Triangular hand-bound and stitched in red and black letterpress wraps; 48 pp.; full color interior printing in English and French text; illus.; limited to 444 copies. As New. Original Wraps.

The edition of the ‘Triangular Book’ was deciphered, transcribed and translated by Nick Koss, who also executed the research and editing of the text. An excellent essay by Koss about the provenance of the manuscript is featured in “Clavis 3: Cipher & Stone.” The edition is limited to 500 copies in three editions. 26 special copies bound in full leather accompanied by a hand-wrought silver Longevity Talisman featured in the original manuscript. 26 copies in full leather and 444 copies bound in letterpress wraps. Design and typesetting by Joseph Uccello. – from the colophon. (#9180) $65.00

[Garcia, Fernando Aguayo; Queer Nation]. Proper Conduct / On October 6, 1989, Police Rioted in the Castro… [Rally Poster]. [San Francisco]: [Queer Nation], 1991. First Printing. Bright and clean. Cyanotype poster. 12×35.5″ Illus. (mono plate). Near Fine.

Poster for a protest organized by Queer Nation in San Francisco to demand justice for victims of the 1989 Castro Sweep Police Riot, when more than 200 San Francisco police officers reacted to an ACT UP march by invading the gay Castro District, declaring the entire neighborhood an unlawful assembly and violently clearing the streets. The Queer Nation protest took place at the San Francisco Hall of Justice following a Police Commission finding that the police sweep of the Castro had constituted “proper conduct.” The poster was designed by gay Latino artist and activist Fernando Aguayo-Garcia and was produced in an extremely limited number of copies using the cyanotype process. (#9272) $350.00

Heart In Your Business: 14th National Motorcycle / Bicycle Show. New York, 1928. Unique. Excellent condition, bright and unmarred, heart shaped advertisement for the 14th Annual National Motorcycle and Bicycle show in New York City, Madison Square Garden. Very Good+.

The first National Auto Show was held in 1900. Apparently, as early as 1915, the two-wheel industry was expanding so the national show split from the automotive industry to have their own independent show. The newly built Madison Square Garden accommodated track racing as well. Rare piece of motorcycling and bicycle ephemera. (#9315) $45.00

Brown, Frederic. ETAOIN SHRDLU. Portland, ME: Ivy Derderian/Wolfe Editions, 2009. Limited Edition. Tight, bright and unmarred. Unprinted tan cardstock wrappers; green textured heavy stock DJ, lettering and pictorial elements in black ink, advert endpages. 8vo. 13pp plus ads. Illus. (b/w plates). Numbered limited edition this being 6 of 40 copies. Fine in Wraps. Original Wraps.

The first solo project from Ivy Derderian, working at Wolfe Editions. Printed in Linotype Bonodi Book, created on an Intertype (the Linotype’s successor). From the prospectus:

“Frederic Brown’s entertaining short story about a sentient Linotype, titled Etaoin Shrdlu, was originally published in 1942 in the magazine Unknown Worlds. While Mr. Brown was well known for his science fiction short stories and novels as well as his award-winning detective fiction, it is clear that he knew his way around a Linotype and a print shop.

Ivy Derderian, with the help of Wolfe Editions, announces a new publication of Etaoin Shrdlu, designed in the manner of pulp magazines of the 1940s. The text type is Linotype Bodoni Book, titles were set in Ludlow Ultra Modern. Text is printed on acid free Dur-o-tone Aged Newsprint, cover is acid free St. Armand Colours. The two engravings used are from a 1923 issue of The Linotype Bulletin.”

Designed and printed to reflect its pulp heritage using Dur-o-tone Aged Newsprint (acid free) and cover wraps on St. Armand Colours. Illustrations from a 1923 issue of The Linotype Bulletin. A wonderful blending of content and design. (#7080) $225.00

Harwood-Jones, Markus/Star . Confessions of A Teenage Transexual Whore [Complete in Ten Parts]. Toronto: Self, nd [circa 2010-2012]. First Thus. Tight, bright, and unmarred. Taped bindings over printed paper wraps, color inkjet reproductions. 8vo. Var. pag. Illus. Near Fine in Wraps. Original Wraps.

“A 10-part zine series telling Star’s short stories of survival sex work over the course of two years.” [From the author] (#9294) $145.00

Eckels, Howard Samuel. Post Mortem Stains and Putty Color. Philadelphia: Press of H.S. Eckels & Co., 1922. First Edition. Minor shelf/edge wear, joint starting at staples, light/even toning to textblock, ownership signature and notation at front, else tight, bright, and unmarred. Navy cloth boards, printed label, fold-out map (in red) of circulatory system. 12mo. 53pp plus adverts. Illus. (color print). Very Good+. Hardcover.

Includes ‘modern’ book curse, “‘Notice’ / This book is the property of G. L. Dodds. / Read if you care to but do not mark, destroy, or carry out of back room. / G.L. Dodds / P.S. I weigh 157lb. Let this be a warning to you. / G.L.D. (#8966) $245.00

Dwight, Thomas. Frozen Sections of a Child. New York: William Wood & Co, 1881. First Edition. Light even toning, tips through, wear at head and tail, ownership signature at first blank, moderate shelf/edge wear, else tight, bright, and unmarred. Black cloth boards. 8vo. Illus. (b/w plates). Good+ [Textblock Very Good]. Hardcover. Includes fifteen full-page drawings from nature by H.P. Quincy. A century or so before CAT scans and MRIs, this work offered detailed tomogrpahic images. Remarkably important (and one of the great titles in publishing). First edition of a classical work of great importance in pediatrics, and the first American group of serial sections. This work provided tomographic images a century before the CAT and MRI. Dwight was a Harvard medical school and, later in life, succeeded Oliver Wendell Holmes as the Parkman Professor of Anatomy.”A classical work of great importance in pediatrics, and the first American group of serial sections” (Choulant-Frank, p. 409). (#8962) $225.00

It’s not unusual… to be loved by anyone To continue with our short list series, here are a few strange and unusual items bound to be loved by someone.

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markfishernyc · 7 years ago

Photo

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omgchocolateunknownbouquet-blog · 8 years ago

Text

2017 Toyota Tundra TRD Pro

New Post has been published on http://auto.tintoantap.com/2017-toyota-tundra-trd-pro/

2017 Toyota Tundra TRD Pro

The Toyota Tundra is a pickup truck manufactured in the U.S.A. by the Japanese manufacturer Toyota since May 1999. The Tundra was the first North American full-size pickup to be built by a Japanese manufacturer. The Tundra was nominated for the North American Truck of the Year award and was Motor Trend magazine’s Truck of the Year in 2000 and 2008.

The 2017 Toyota Tundra is a Second generation pickup truck, The redesign featured a larger grille, more enhanced fenders front and rear, a redesigned tailgate and tail lights, as well as a completely redesigned interior. The only sheet-metal carried over from the previous model was the cab and the doors.

Toyota knows trucks. After all, we’ve been building them for over 80 years. So you know that when you buy a Tundra, it’s got the strength and dependability you expect. And we continue to deliver on this promise of toughness: Toyota offers the longest-lasting vehicles of any full-line manufacturer, and over 90% of Tundras sold in the last 15 years are still on the road. In fact, the only thing that matches Tundra’s toughness is its value: the 2016 Tundra earned KBB’s award for Best Resale Value: Full-Size Pickup Truck.

A dedicated team proudly assembles every Tundra in San Antonio, Texas.* In fact, 1794 Edition takes its name from the year the ranch, on which the Toyota plant now sits, was founded. We are committed for the long haul to building the most capable full-size pickup truck on the planet.

The journey continues to Michigan, where engineering is done on the mighty Tundra. Home to some of the harshest conditions a truck could ever face, which helps the engineering team make sure Tundra can tackle everything the weekend, the work site and your family can throw at it.

Before it rolls down the assembly line or appears in a showroom, Tundra was first styled in California and Michigan. We created Tundra with the American consumer in mind right from the start. Inspiration was taken from all over the nation to design the legendary new Tundra.

Stamped big and bold on the right-hand side of the easy lift and lower tailgate is one word that is known for capability and toughness: TUNDRA. Now the next time you tow your friend out of trouble, he knows who to thank.

With all these powerful options to choose from, it helps to have it all organized in one place. We created the matrix above to help you choose the best grade and cab for your needs. First, select from one of six grades and then select your preferred cab. No matter what, you’ve got a wealth of choices.

No matter your needs, there is a grade and package for you. The matrix above will help you see package availability. Simply choose from one of the six grades and select an available package. No job is the same and Tundra is built to help you handle every one of them.

2017 Toyota Tundra TRD Pro Exterior

Multi-reflector halogen headlights with black sport bezels and manual level control : Standard

Daytime Running Lights (DRL) : Standard

Fog lights : Standard

“TOYOTA” grille with color-keyed grille surround and matte black lower front bumper with color-keyed endcaps : Standard

Color-keyed rear bumper : Standard

Deck rail system with four adjustable tie-down cleats : Standard

Deck rail and tailgate caps : Standard

TRD Pro bed-side stamping : Standard

Taillights and stop lights with dual vortex generators : Standard

Color-keyed heated power outside mirrors : Standard

Variable intermittent windshield wipers : Standard

Windshield wiper de-icer : Standard

High Solar Energy-Absorbing (HSEA) glass : Standard

Easy lower and lift tailgate : Standard

Front and rear mudguards : Standard

Front tow hooks (4×4) : Standard

TRD front skid plate with oil pan drain access panel : Standard

TRD dual exhaust : Standard

TRD Pro front and rear Bilstein® shocks with remote reservoirs : Standard

Black “5.7L i-FORCE V8” engine badge (driver and front passenger door) : Standard

Black 4×4 badge (lower left portion of tailgate) : Standard

Black “TUNDRA” badge (driver and front passenger door) : Standard

6.5-ft. Standard Bed : Standard

Large fuel tank (38 gallon) : Standard

2017 Toyota Tundra TRD Pro Interior

Air conditioning with dust and pollen air filter and single temperature setting for driver and front passenger : Standard

Integrated backup camera42 : Standard

Entune™ Premium Audio with Integrated Navigation16 and App Suite43 — includes the Entune™ Multimedia Bundle17 (7-in. high-resolution touch-screen with split-screen display, AM/FM CD player with MP3/WMA playback capability, 9 speakers (7 speakers on Double Cab), auxiliary audio jack, USB 2.0 port32 with iPod®33 connectivity and control, advanced voice recognition,22 hands-free phone capability, phone book access and music streaming37 via Bluetooth®29 wireless technology), Siri® Eyes Free,27 Entune® App Suite, HD Radio™14 Technology, HD Radio™ Predictive Traffic and Doppler Weather overlay, AM/FM cache radio, SiriusXM® Satellite Radio with 3-mo. complimentary SiriusXM All Access trial, and Gracenote® album cover art, and integrated backup camera42 display. Access to Entune® App Suite43 is subscription-free. See toyota.com/entune for details. …More : Standard

5-passenger seating capacity : Standard

Black TRD Pro leather-trimmed front bucket seats with red contrast stitching and TRD Pro logo; 10-way power-adjustable driver’s seat; 4-way adjustable front passenger seat : Standard

60/40 split fold-up rear seats : Standard

Carpet flooring (not available with Work Truck Package) : Standard

Cruise control : Standard

Urethane tilt/telescopic 4-spoke steering wheel with audio, Bluetooth®29 hands-free phone, voice command controls, and center console gated shift lever (front bucket seat only) : Standard

TRD Pro shift knob : Standard

Analog instrumentation with color-illuminated speedometer, tachometer, voltmeter, coolant temperature, fuel and engine oil pressure gauges; 3.5-in. color Multi-Information Display with odometer and tripmeters; shift-position indicator : Standard

Power windows with driver-side one-touch auto down, power door locks with shift-linked automatic lock/unlock feature and programmable auto door lock logic, remote keyless entry system with lock, unlock and panic functions, cab and driver footwell illuminated entry system, and one-touch auto start …More : Standard

Sliding horizontal rear window with privacy glass : Standard

Auto-dimming rearview mirror with compass and HomeLink®41 universal transceiver : Standard

Fixed center console with covered storage compartment, and second-row vents (front bucket seats only) : Standard

Rear under-seat storage compartment : Standard

Two front 12V auxiliary power outlets (additional rear 12V auxiliary power outlet on Double Cab and CrewMax) : Standard

Front maplight (additional rear maplight on Double Cab and CrewMax) : Standard

Four front and two rear cup holders, four front and two rear bottle holders (three front cup holders on Limited and TRD Pro) : Standard

2017 Toyota Tundra TRD Pro Safety/Convenience

Star Safety System™ — includes Vehicle Stability Control (VSC)18, Traction Control (TRAC), Anti-lock Brake System (ABS) with Electronic Brake-force Distribution (EBD), Brake Assist (BA)39 and Smart Stop Technology® (SST)13. At speeds greater than five miles per hour, when the accelerator is depressed first and the brakes are then applied firmly for longer than one-half second, Smart Stop Technology® is designed to help the driver bring the vehicle to a stop. …More : Standard

Eight airbags26 : Standard

Driver and front outboard passenger Advanced Airbag System26 : Standard

Driver and front outboard passenger seat-mounted side airbags, driver and front passenger knee airbags and front and rear Roll-sensing Side Curtain Airbags (RSCA)26 : Standard

3-point seatbelts for all seating positions; driver-side Emergency Locking Retractor (ELR) and Automatic/Emergency Locking Retractor (ALR/ELR) on all passenger seatbelts : Standard

Driver and front passenger seatbelt pretensioners with force limiters : Standard

LATCH (Lower Anchors and Tethers for CHildren) includes lower anchors on outboard rear seats and tether anchor on rear center seat : Standard

Child-protector rear door locks : Standard

Tire Pressure Monitor System (TPMS)36 : Standard

Trailer-Sway Control30 : Standard

Integrated Trailer Brake Controller20 with Multi-Information Display monitoring screen and trailer brake type, gain, and manual trailer brake output controls (5.7L V8 only) : Standard

Anti-theft system with alarm and engine immobilizer28 : Standard

ToyotaCare11 featuring a no cost maintenance plan with roadside assistance24 : Standard

2017 Toyota Tundra TRD Pro Mechanical/Performance

5.7-Liter Aluminum i-FORCE V8 with DOHC 32-Valve cylinder heads and E85 Flex Fuel Vehicle (FFV)35 capability, Acoustic Control Induction System (ACIS), Dual Independent Variable Valve Timing with intelligence (Dual Independent VVT-i) and 4-2-1 tubular stainless steel exhaust manifold; 381 hp @ 5600 rpm; 401 lb.-ft. @ 3600 rpm …More : Standard

Ignition system

Electronic, with Toyota Direct Ignition (TDI) : Standard

Heavy-duty battery and heavy-duty alternator (5.7L V8 only) : Standard

Stainless steel TRD Pro dual exhaust : Standard

Ultra Low Emission Vehicle II (ULEV- II) : Standard

Transmission

6-speed Electronically Controlled automatic Transmission with intelligence (ECT-i), sequential shift mode and uphill/downhill shift logic (V8 models) (5.7L V8 models add TOW/HAUL Mode) : Standard

Ratios

1st gear : 3.33

2nd gear : 1.96

3rd gear : 1.35

4th gear : 1.00

5th gear : 0.73

6th gear : 0.59

Reverse : 3.06

Axle ratio : 4.30

4WD Transfer case (high/low range) : 1.00/2.64

4WDemand part-time 4WD with electronically controlled transfer case, Active Traction Control (A-TRAC) and Automatic Limited-Slip Differential40 (Auto LSD) : Standard

Independent TRD coil-spring high-mounted double-wishbone front suspension for a 2-in. lift, with stabilizer bar and TRD Bilstein® shock absorbers with remote reservoirs; live axle with trapezoidal multi-leaf rear suspension with staggered outboard-mounted TRD Bilstein® shock absorbers with remote reservoirs …More : Standard

Off-Road

Ground clearance : 10.6

Approach/departure angle (degrees) : 31.0/16.0

Steering

Hydraulic power rack-and-pinion : Standard

Steering wheel turns, lock-to-lock : 3.71

Turning circle diameter, curb to curb (ft.) (Standard Bed/Long Bed) (Short Bed on CrewMax) : 44.0

Brakes

Power-assisted ventilated 13.9-in. front disc brakes with opposed 4-piston brake calipers; ventilated 13.6-in rear disc brakes, and Star Safety System™ : Standard

2017 Toyota Tundra TRD Pro Dimensions

Exterior Dimensions (in.)

Overall height : 77.4

Overall width : 79.9

Overall length : 228.9

Wheelbase : 145.7

Track (front/rear) : 67.9/67.9

Bed length : 78.7

Bed depth : 22.2

Bed Width (total/between wheelwells) : 66.4/50.0

Interior Dimensions, front/rear (in.)

Head room : 39.7/38.7

Hip room : 62.6/62.6

Leg room : 42.5/34.7

Shoulder room : 65.7/65.6

2017 Toyota Tundra TRD Pro Weights/Capacities

Gross Vehicle Weight Rating (GVWR) (lb.) : 7100

Base curb weight (lb.) : 5470

Maximum payload (lb.) : 1630

Standard fuel tank (gal.) : 38

Seating capacity : 5

Towing

Tow Package: Towing hitch receiver, 4.300 rear axle ratio, TOW/HAUL Mode switch, Integrated Trailer Brake Controller,20 transmission fluid temperature gauge, supplemental engine oil cooler, supplemental transmission cooler, heavy-duty battery, 170-amp alternator and 4/7-pin connector …More : Standard

Ring gear size, front/rear (in.) : 8.7/10.5

Maximum towing capacity (lb.) : 9700

2017 Toyota Tundra TRD Pro Tires

18-in. split 5-spoke TRD black alloy wheels with P275/65R18 tires : Standard

Tire Type

All-Season : Standard

All-Season & All-Terrain : Standard

Spare

Spare – Full-size mounted under body : Standard

2017 Toyota Tundra TRD Pro MPG/Other/Price

Mileage Estimates

MPG (mpg city/highway/combined)15 : 13/17/15

Price

Starting msrp1 : $43,495

2017 Toyota Tundra TRD Pro Options

Entune™ Premium Audio with Integrated Navigation16 and App Suite43 — includes the Entune™ Multimedia Bundle17 (7-in. high-resolution touch-screen with split-screen display, AM/FM CD player with MP3/WMA playback capability, 9 speakers (7 speakers on Double Cab), auxiliary audio jack, USB 2.0 port32 with iPod®33 connectivity and control, advanced voice recognition,22 hands-free phone capability, phone book access and music streaming37 via Bluetooth®29 wireless technology), Siri® Eyes Free,27 Entune® App Suite, HD Radio™14 Technology, HD Radio™ Predictive Traffic and Doppler Weather overlay, AM/FM cache radio, SiriusXM® Satellite Radio12 with 3-mo. complimentary SiriusXM All Access trial, and Gracenote® album cover art, integrated backup camera42 display. Access to Entune® App Suite43 is subscription-free. See toyota.com/entune for details. …More : Standard

Deck rail system with four adjustable tie-down cleats : Standard

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