#GORE-TEX Studio

[grrl-beetle]

SAMSØE SAMSØE x GORE-TEX Studio

[freshthoughts2020]

[struggle-bugg]

trigun au where everything is the same except vash wears george’s gore tex jacket from seinfield

[boosqoowoo]

BEENZINO - NOWITZKI (ENGLISH LYRICS TRANSLATION)

The second studio album by rapper Beenzino and his comeback after 6 years, NOWITZKI is named after the legendary German NBA player, Dirk Nowitzki. The album’s cover art, however, features Beenzino’s German-origin wife and muse, Stefanie Michova, who he got married to in August 2022. Beenzino mentioned that the album was originally meant to be named 'Stefanie' after his muse, but was afraid that if people didn't like the album, they would say "Ah, Stefanie wasn't that good (of an album)' so he decided to put the burden on Nowitzki instead (LOL). But, to him, the album is titled Stefanie, since she "took up so much of my headspace".

Beenzino mentioned that his album is like a journal of the past 6 years, with each entry being a journal entry of different times in his life. For example, Track 12 Camp is an entry about his life in the military, and Track 11 Crime about meeting his wife for the first time.

Tracklist

Stinky Kiss (intro)

Monet

In Bed/Makgulli

Travel Again (ft. Cautious Clay)

Dope As (Interlude)

Coca Cola Red (ft. oygli)

990 (ft. Kim Ximye)

Lemon

Like a Fool (ft. Y2K92)

Trippy (ft. Lance Skiiwalker)

Crime (ft. Bek Hyunjin, 250)

Camp

Sanso (Interlude)

Change

Just One Day

Sandman

Radio

Gym

Hidden Tracks (only available on physical CDs... and youtube)

19. Morning Page 20. Train (ft. CJamm)

Common themes in the album

1. Menu

- In Bed/Makgulli

comparing myself to the person on the menu

people’s gazes are on my menu

my menu physical complex is hot

- Travel Again

there’s no lies on my menu

2. Food Brands

- Travel Again

while they sell Pizza Etang here

- Camp

for me, Krispy Kreme donut

for me, McDonald cheeseburger

- Gym

Shin and Jin and Ansungtangmyun that’s my top 3

- Morning Page

honestly, i would have been satisfied with just licking Yoplait

- Monet

suffocating in WOORAHMAN

3. Stefanie Michova (too many to name, but the specifics are)

- In Bed/Makgulli

there’s a mark from your belly button piercing on your waist, just like a memory foam

- Coca-cola Red

Stefanie asks 'what you filming for?' (filming for)

- Trippy

mom's spaghetti, Steffi's kimchi stew

- Morning Page

i have 100 friends, but even Steffi is less jealous than you

4. God

- Sandman

God gave me another chance

- 990

that’s your God, I’m Namu Amitabha

- Lemon

i'm a lemon in God's hands

- Camp

God who is turning on the fader

5. Fashion/clothes

- Stinky Kiss

kick push, pull the white Stussy shirt up

- Travel Again

stretch out your legs in your Kapital pants

- Trippy

it's always there like Samsadoo in that convenience store refrigerator

- Radio

lean on your babe's vintage Levi's

- Morning page

sometimes i search for my gore-tex

homies, rip your first Amiri fit

6. Cars

- Morning page

roll down the windows of the BMW i4 G

- Change

it's definitely Santamo, that's my Mom's car for sure

- Like a fool

it turned out to be a figure, my R8

i am a BMW ambassador, whoa

24:26 ALBUM TRANSLATION HERE

[mellisa-winters]

10 Must-Have Features of the Perfect Camera Bag

As a professional photographer, your camera is your most valuable possession. Therefore, it's vital to choose the perfect camera bag to protect it from damage and transport it safely. Here are the 10 must-have features of the perfect camera bag:

1. Size and Capacity

The first feature to consider when choosing a camera bag is its size and capacity. It should be able to fit your camera, lenses, and other necessary accessories without being too bulky or heavy to carry around.

2. Protection and Durability

A high-quality camera bag should provide excellent protection to your gear against physical damage. Look for durable materials like thick canvas, leather, or ballistic nylon and ensure that the bag has padding and compartments to prevent any scratches or dents.

3. Comfort and Ergonomics

When you're carrying your equipment around all day, you need a comfortable and ergonomic bag. Look for a bag with padded straps, breathable materials, and an adjustable harness system to ensure a comfortable fit that doesn't strain your shoulders or back.

4. Accessibility and Organization

Camera bags should have easy access to your gear when you're in the field and need to quickly change lenses or grab your camera. Look for a bag with quick access compartments, custom dividers, and multiple pockets that help to keep your equipment organized.

5. Weather Resistance

Whether you're shooting in rain, snow, or high humidity, you need a weather-resistant bag to keep your gear dry and clean. Look for waterproof and weather-resistant materials like Gore-Tex or waterproof zippers that ensure your camera equipment stays protected.

6. Security and Theft Prevention

Security is always a high priority for photographers, and you need to choose a bag that keeps your equipment safe from theft or robbery. Look for a bag with locking zippers, security cables, and slash-resistant fabrics that provide an additional layer of protection.

7. Style and Design

The design and style of your camera bag should match your personal taste and professional needs. Whether you prefer a sleek, modern look or a vintage-inspired design, make sure that the bag meets your aesthetic and creative preferences.

8. Weight and Portability

The weight and portability of your camera bag play a crucial role in deciding which one to choose. Look for a lightweight and compact but sturdy design that you can carry with ease. Consider getting a bag that you can convert from a backpack to a shoulder bag or sling bag to suit your mode of transport.

9. Versatility and Flexibility

You need a camera bag that's versatile and flexible enough to meet your changing photographic needs. Look for a bag that can adapt to different shooting environments, whether you're shooting outdoors, in the studio, or on the go.

10. Affordability and Value

The price of your camera bag should match your budget but not compromise on quality. Look for a bag that provides the best value for money, offers durability, functionality, and meets the essential features mentioned already.

In conclusion, the perfect camera bag is essential to protect your valuable equipment while providing comfort, convenience, and functionality. Choosing the right one can make a significant difference when you're in the field shooting. As a photographer, you should select a camera bag based on your individual needs, preferences, and budget.

Source: None

[dliilb]

GORE‑TEX - PAST TO FUTURE with HILDUR KARLSSON from DAMA STUDIOS on Vimeo.

Director/DOP - Adam Falk Client - GORE-TEX Agency - ABBY WORLD TALENT - PATRICK STANGBYE 1 AC - ARVID Gaffer - CHARLES EKSTRÖM Agency Creative - MOA SAWERIN Producer - AMANDA NORDLOW 
 Account manager - TOVE NILSSON Colourist - JESPER GULDBRAND POST PRD - DAMA STUDIOS Music & sound design - ADAM 888 Online - DAMA STTUDIOS Film lab - FOCUS FILM LAB Rental - DAGSLJUS

[dojoe-tokyo]

TOKYO DESIGN STUDIO New Balance”

”GORE-TEX 3L BALMACAAN COAT"

size  L（実寸XL程度）

*174cm着用

—

身幅 64cm

着丈 79.5cm

袖丈 57.5cm   (脇下～袖先)  

—

¥15400(tax in)

日本ならではの技術や、感性をデザインに落とし込んだ

プロダクト”Tokyo Design Studio New Balance”

こちらは軽量の3レイヤーGORE-TEXシェル地、

バルマカーンコート。

高い防水、透湿性で、雨に強く、蒸れにくい、

これからの時期に活躍する一着です。

フロントは掛けボタン&止水ZIP仕様。

クラシックなアイテムの素材を変えて、

アーバンにアップデート。

温故知新、”TDS”シリーズらしい仕上がりです。

ハイクオリティーな分、定価も高く、

USEDならではのプライスも魅力的かと。

お探しだった方、是非です。

[addierose444]

What's In My Backpack: SWE Intern Edition

This is the intern edition of the what’s my backpack post I wrote last fall! There is definitely a good bit of overlap between the two setups, but also some key differences. For folks who are new, this summer I am working as a software engineering intern at Microsoft on the OneNote Integrated Experiences (ONIX) team. To read more about my daily routine as a SWE intern, check out the post I wrote last week.  

Starting off with the bag, I’ve been using the OneNote branded Hershel Settlement Backpack that I received as an intern gift. Unlike the other Microsoft swag sold at the company store, the decal was printed and applied on campus in a maker space. The backpack has a 23-liter capacity and aside from being well built and comfortable to carry has no bells and whistles. My main gripe with the backpack is that it is just a bit too simplistic in that it is missing a padded laptop sleeve and organizational pockets. The backpack simply consists of the main compartment with an unpadded laptop sleeve and a small exterior pouch with a key clip. 

Inside the laptop sleeve, I carry “my” Surface Book 3. I mostly use the laptop for Teams calls and messages. For actual development, I use my desktop computer as it has more processing power. The desktop is right next to me in my office at work, but I connect to it from my laptop using Remote Desktop so I can use a single mouse and copy text between the two. I don’t really use the laptop outside of work, but feel a bit better about carrying it back and forth just in case I need to work from home. I don’t like the basic mouse and keyboard that I was provided with, so I use my personal mouse instead (more about that later) and the laptop keyboard. For those of you who aren’t familiar with the Surface Book, the screen is detachable and can be used as an oversized tablet. I’ve used the tablet mode on occasion to watch training videos from the comfort of one of our beanbag chairs.

At the bottom of the backpack, I carry a lightweight sweatshirt and if necessary a raincoat. The sweatshirt is actually the same Smith sweatshirt I featured in my last what’s in my backpack post. You can shop for your own Smith merch at the Smith bookstore located on the lower level of the campus center or online. As for the raincoat (Marmot Minimalist Jacket), it’s made of GORE-TEX which ensures that my backpack (specifically the laptop inside) stays dry. I do get a little wet though as the jacket doesn’t zip when I have it over my backpack. I only pack/wear the raincoat on days where rain is in the forecast (a common occurrence in Seattle), but also keep a small umbrella in my bag just to play it safe. I haven’t used them a ton, but my polarized sunglasses (SunCloud Loveseat) are another backpack staple of mine. 

While my headphones (Bose QC 35IIs) are often either on my ears or around my neck, I still carry the case around to hold some miscellaneous items. (Again, recall how the backpack doesn't have much in the way of organizational pockets). Inside the case, I carry my headphone wire, a pen, my mouse (Logitech M320), my multitool (Gerber Dime), my spork (Eat’NTool), hand cream (Welda Skin Food), and a mini first aid kit. The reason I carry my mouse back and forth is so that I can still use it with my personal laptop as I really can’t stand trackpads. The two other items that just regularly live in my headphone case are a thumb drive and a USB C to USB A adapter.

One item that I never use outside of work, but still carry back and forth is my Microsoft tumbler. The kitchen (where I make my morning tea) is on the way to my office, so it seems a bit silly to walk to my office just to turn around and go back to the kitchen. I carry a water bottle (Studio Oh! Boho Llama Duo) as well, but don’t really use it at work as I just use my Microsoft tumbler for hydration (mostly sparkling water) instead. At this point carrying a water bottle is just habitual and in my view just a good thing to do. I’ve occasionally used it to water my office plant and it’s nice to have for the days where I’ve had to run to the bus. At the top of the bag where it can’t be crushed, I carry my lunch. As explained last week, I have a Stasher sandwich bag for my sandwich and a Stasher snack bag for my vegies (either baby carrots or sliced red pepper). 

In the front pouch, I carry my phone (Google Pixel 5a with 5g), mask (when I’m not wearing it), hand sanitizer, and wallet (Mywalit Magic). When in the office I am required to wear my Microsoft badge, but it otherwise lives in the front pouch as well. Inside my wallet, I carry the normal things like my driver’s license, health insurance card, debit cards, credit cards, and some cash. I also continue to carry my student ID (Smith One Card) for student discount purposes. It hasn’t actually been useful yet because it doesn’t have an expiration date which was required by one place I went. (I still got the student discount by logging into Moodle to demonstrate that I’m an active student). Intern-specific wallet items include my room key card, Seattle Bouldering Project punch card, Microsoft meal cards, and ORCA card (for Seattle public transportation). So yeah, my wallet is a bit full at present! 

[robertreich]

When Bosses Shared the Profits

After the bruising crises we’re now going through, it would be wonderful if we could somehow emerge a fairer nation. One possibility is to revive an old idea: sharing the profits.

The original idea for businesses to share profits with workers emerged from the tumultuous period when America shifted from farm to factory. In December 1916, the Bureau of Labor Statistics issued a report on profit-sharing, suggesting it as a way to reduce the “frequent and often violent disputes” between employers and workers, thereby “fostering the development of a larger spirit of harmony and cooperation, and resulting, incidentally, in greater efficiency and larger gains.”

That same year, Sears, Roebuck and Co., one of America’s largest corporations, with 30,000 to 40,000 employees, announced a major experiment in profit-sharing. The company would contribute 5 percent of net earnings, without deduction of dividends to shareholders, into a profit-sharing fund. (Eventually the company earmarked 10 percent of pretax earnings for the plan.) Employees who wished to participate would contribute 5 percent of their salaries. All would be invested in shares of Sears stock. The plan’s purpose, according to The New York Times, was to “to engender loyalty and harmony between employer and employee.” In reviewing its first three years, The Times noted that 92 percent of Sears’s employees had joined up and that “the participating employee not only found an ever-increasing sum of money to his credit, but eventually discovered he was a shareholder in the corporation, with a steadily growing amount of stock to his name.”

Sears’s plan was admirably egalitarian. Distributions of shares were based on years of service, not rank, and the longest-serving workers received nearly $3 for every dollar they contributed. By the 1950s, Sears workers owned a quarter of the company. By 1968, the typical Sears salesman could retire with a nest egg worth well over $1 million in today’s dollars. Other companies that joined the profit-sharing movement included Procter & Gamble, Pillsbury, Kodak, S.C. Johnson, Hallmark Cards and U.S. Steel — some because it seemed morally right, others because it seemed a means to higher productivity.

Profit-sharing did give workers an incentive to be more productive. It also reduced the need for layoffs during recessions, because payroll costs dropped as profits did. But it subjected workers to the risk that when profits were down, their paychecks would shrink. And if a company went bankrupt, they’d lose all their investments in it. (Sears phased out its profit-sharing plan in the 1970s and filed for bankruptcy protection in 2018.) The best profit-sharing plans came in the form of cash bonuses that employees could invest however they wished, on top of predictable base wages.

Profit-sharing fit perfectly with the evolution of the American corporation. By the 1950s, most employees of large companies had spent their entire working lives with the company. Companies and their employees were rooted in the same communities. C.E.O.s typically worked their way up, and once at the top rarely earned more than 20 times the average wage of their employees (now they’re often paid more than 300 times more). Over a third of private-sector workers were unionized. In 1958 the United Auto Workers demanded that the nation’s automakers share their profits with their workers.

Some remnants of profit-sharing remain today. Both Steelcase Inc., an office-furniture maker in Grand Rapids, Mich., and the Lincoln Electric Company, a Cleveland-based manufacturer of welding equipment, tie major portions of annual wages to profits. Publix Super Markets, which operates in the Southeast, and W.L. Gore, the maker of Gore-Tex, are owned by employee stock ownership plans. America still harbors small worker cooperatives owned and operated by their employees, such as the Cheese Board Collective in my hometown Berkeley, Calif.

But since the 1980s, profit-sharing has almost disappeared from large corporations. That’s largely because of a change in the American corporation that began with a wave of hostile takeovers and corporate restructurings in the 1980s. Raiders like Carl Icahn, Ivan Boesky and Michael Milken targeted companies they thought could deliver higher returns if their costs were cut. Since payrolls were the highest cost, raiders set about firing workers, cutting pay, automating as many jobs as possible, fighting unions, moving jobs to states with lower labor costs and outsourcing jobs abroad. To prevent being taken over, C.E.O.s began doing the same.

This marked the end of most profit-sharing with workers. Paradoxically, it was the beginning of profit-sharing with top executives and “talent.” Big Wall Street banks, hedge funds and private-equity funds began doling out bonuses, stock and stock options to lure and keep the people they wanted. They were soon followed by high-tech companies, movie studios and start-ups of all kinds.

Even before tens of millions of Americans lost their jobs and incomes in the current pandemic, the pay of the typical worker had barely risen since the mid-1970s, adjusted for inflation. Meanwhile, ever-greater wealth continues to concentrate at the very top.

Since 2000, the portion of total national income going to American workers has dropped farther than in other rich nations. A steadily larger portion has gone into corporate profits, which have been reflected in higher share prices. But a buoyant stock market doesn’t help most Americans. The richest 1 percent now own half the value of all shares of stock; the richest 10 percent, 92 percent.

Those higher share prices have come out of the pockets of workers. Daniel Greenwald at M.I.T.’s Sloan School of Management, Martin Lettau at the University of California’s Haas School of Business and Sydney Ludvigson at N.Y.U. found that from 1952 to 1988, economic growth accounted for all the rise in stock values, but from 1989 to 2017, growth accounted for just 24 percent. Most came from “reallocated rents to shareholders and away from labor compensation” — that is, from workers.

Jeff Bezos, who now owns 11.1 percent of Amazon’s shares of stock, is worth $165 billion overall. Other top Amazon executives hold hundreds of millions of dollars of Amazon shares. But most of Amazon’s employees, including warehouse workers, don’t share in the same bounty.

If Amazon’s 840,000 employees owned the same proportion of their employer’s stock as Sears workers did in the 1950s — a quarter of the company — each would now own shares worth an average of about $386,904.

There are many ways to encourage profit-sharing. During this pandemic, for example, Congress should prohibit the Treasury or the Federal Reserve from bailing out any corporation that doesn’t share its profits with its employees.

It’s impossible to predict what kind of America will emerge from the crises we’re now experiencing, but the four-decade trend toward higher profits and lower wages is unsustainable, economically and politically. Sharing the profits with all workers is a logical and necessary first step to making capitalism work for the many, not the few.

[johannstutt413]

Movie Night II: Penguin Style

(requested by lost-but-with-coffee)

“Hey, Angie!” Croissant spotted the Vulpo in the hall and ran after her. “Hey, you wanna come by Penguin tonight? We’re gonna watch a movie, and they lemme have a plus one to see if yer free.”

“Yeah, I’m not doing anything tonight. Usual time?”

The Forte nodded. “Yep, same ol’ same ol’. I think Mostima’s pickin’ the flick this time.”

“Alrighty.” A thought struck her. “Do you think they’d mind if I brought one, though, just in case?”

“Sure, if ya wanna, no ’un’s gonna stop ya. I’ll see ya tonight.”

Angelina momentarily turned off Croissant’s gravity. “Aren’t you forgetting something?”

“Sorry. Still not used to...aw, forget it.” She gave her a kiss, as requested. “Now I’ll see ya tonight?”

“Go on, get!” The Vulpo set her free and giggled as her favorite Forte stumbled a little as she ran back to the office. Eventually, she’d teach her how to treat a girl properly, but she was fun enough to tease that she didn’t mind if it took a bit…

Later in the day, after picking the outfit she wanted Penguin Logistics to see her and Croissant together in, Angelina floated down to their Rhodes Island embedded HQ. It was nice they were easy to get to like this; back when it was just them stopping by every now and again, it made it hard to get in touch with Croissant, but now that the two companies were basically shacking up because of what happened half a year ago now, she always knew where to find her for a little pep talk and a lot of cuddling. The Forte might be a bit flat, but she was warm and inviting, and that more than made the difference.

Thinking snuggly thoughts, she arrived at the office early (habits of a Messenger) and walked inside to find everyone but Croissant already staking claims on the furniture. Texas had the central couch, one arm around Sora’s back and the other behind Exusiai’s; Bison and Mostima had the left loveseat to themselves; Emperor was reclining in Magallan’s lap in his armchair, remote at his side. Luckily, that left Angie’s favorite seat, the rightmost loveseat, for herself and Croissant, so she hovered over to it and sat down. “Hey, girls and Emperor!” She grinned as she landed on her cushion of choice.

“Hey, Angelina.” Bison, no longer offended by the teasing reference to the fact he was the only man Mostima had ever settled on, replied. “Croissant said she might be a bit late, but we don’t mind waiting for her.”

“That’s fine with me! Hey, Mostima, she told me you picked the movie, right?”

The fallen Sankta nodded, inscrutable as usual. “I wouldn’t call it a date night movie, but I think it’ll be interesting to see how everyone reacts.”

“She didn’t tell me what it is, either,” the Forte sighed. “Let’s just hope it’s not one of her ‘midnight watches.’”

“Her what?” Exu asked, shifting closer to Texas.

He shrugged. “I’ll tell you if I’m right or not.”

“I don’t remember anything like that...” She huffed. “You got a stick on you, Tex?”

“Here.” The Lupo slipped a Pocky between the angel’s lips, offering one to Sora as well. The not!Cautus, of course, took it with a smile.

At that point, the door to the office blew open as Croissant ran in, closing it quickly behind her. “Whew! That was a workout. Y’all don’t mind if I lock up behind me, do ya?”

“Lock up?” Sora leaned her head over the back of the couch, Pocky between her teeth. “Why do you need to lock up?”

“Aww, never mind then.” Without another word on the subject, she joined Angelina on the loveseat, scratching at her arm as she did.

The Vulpo frowned. “Is everything alright?” She whispered as Magallan’s drone dimmed the lights.

“Yeah, it’s all good.” Croissant reassured her, adjusting a bit so her girlfriend could sit on her leg. “Ran into Ceobe runnin’ around outside, she kinda nibbled on me.”

“Nibbled on you? That doesn’t sound like her.”

She smirked. “Maybe she wanted to know if my codename fit me.”

“We both know it’s because you love Victorian bakeries.” As the menu screen came on for the movie, Angelina’s attention drifted, along with everyone else’s. “Uh, Mostima...What kind of movie is this?”

“I shoulda guessed,” Bison sighed, shaking his head.

Unfazed by his disapproval, she answered Angie’s question. “It’s a new movie from the same studio that did ‘Bump in the Night.’ The reviews are better than most of what they make, so I thought it’d be a good choice.”

“It’s one of her midnight movies, definitely.” The Forte next to her grumbled. “She’ll watch these when I’m sleeping so I don’t have to put up with them, but she loves talking about them the next morning.”

“What’s wrong with this movie, Bison?” Texas shot a glance at the devilish Sankta who’d decided to curse their movie night with this.

By then, of course, she’d already pushed play. “You’ll see, Texas. You’ll see.”

The opening of the movie was slow. A group of Siracusan Lupos were walking the streets, being general goons (Sora felt Texas’ hand squeeze her far shoulder) with little more than the occasional expletive to keep it moving. Things took a sudden turn, however, when a white-haired Lupo, clearly Infected, jumped out from an alleyway and bit one of the gangsters on their arm. From there, the pacing and tone turned on its head as the four who managed to escape the alley found themselves running for their lives, occasionally fighting back for a brief moment against the absurdly fast-spreading hordes of Infected chasing them-

“What. The actual. Fuck.” Despite the gore and rather bigoted protrayal of the Infected, Penguin managed to sit through the entire movie. Much to the majority’s displeasure, particularly Texas’.

“This was really your go-to for a movie night?” Exusiai sighed. “No wonder you didn’t come to my parties.”

Sora was occupied soothing - and to a point, restraining - Texas. “It’s just a movie, Tex. Don’t take it out on the TV.”

“I thought it was interesting - a look into the mindset of the masses worried about Oripathy but uninformed about its mechanics.” Magallan had hidden behind Emperor for the violent parts, but had been somewhat invested in the story all the same.

“This really the best that studio’s got?” By contrast, he’d ignored the plot and been nonplussed by the low-quality gore effects. “I’ve seen amateur slashers with better blood. Almost like they never been brawling in the hood. It’s no good. Angel-face, you ready to blow this popsicle stand?”

Angelina floated her movie into the air. “I brought one, if anyone wants to watch it?”

“Eh, I’ll take my chances out there. G’night, girls.” Emperor, and by extension Magallan as his carrier, left the office.

“Same.” Texas cracked her neck and stood up, quickly followed by Exu and Sora. “Need to cool off. The two of you good to head to the bar?”

The not!Cautus checked her pockets. “Um...yeah, I’ve got everything.”

“Karaoke time?” The Sankta asked her.

“Karaoke time,” she agreed. “Good night, everyone! See you tomorrow!”

The remaining quartet waved them goodbye before looking back at each other. Mostima sighed. “I didn’t mean to ruin the evening.”

“It’s fine, babe. So, Angelina, what’d you bring?”

“‘The Year Time Forgot.’” She sent it over to the DVD player and let it settle atop it. “It’s an older romdrama, but I haven’t seen it yet, and I thought if this was a date night...”

Bison looked at Mostima analytically. “You want to watch it, I assume?”

“She had me at ‘older movie I haven’t seen before,’” the Sankta agreed.

“Great!” Angie hopped out of Croissant’s lap and set it up. “Hey, Croissant, how’s that bite doing?”

The other two looked at the Forte warily. “Bite?” Bison asked, a trace of fear in his voice.

“Aww, it’s nothin’. Ceobe was runnin’ around, took a nibble off meh forearm, I’m fine.”

“...Was that why you wanted to lock the door?” He was shaking a little now. “To make sure she didn’t follow you?”

She rolled her eyes. “Look, Bison, I promise ye-” At that precise moment, a scream pierced the air from outside.

“...Now I definitely want to watch this,” Mostima muttered, walking over to the office doors and locking them.

“Great!” Angelina walked from the TV area to the bar and walked over to the microwave. “I’m gonna make some popcorn. Anyone else hungry?”

Croissant grinned. “I’m a bit peckish myself.”

“You’re doing it on purpose now,” the Sankta observed as she sat back down, immediately accepting Bison’s sudden display of machismo in a protective arm around her shoulder and a lean forward.

“He’s so serious, it’s hard not to.” She leaned back, pleased with herself. “I gotta wonder what the hell that was outside...”

Mostima shrugged. “If it’s anything like the movie, we know we can handle them.”

“Don’t say that so casually,” the Forte next to her shivered.

“You need to relax.” She kissed his cheek. “Nothing like that is going to happen to you, or any of us, tonight.”

He sighed before immediately looking at her, concerned again. “Is there a reason you didn’t say ‘never?’”

“You never know what tomorrow will bring,” she replied ominously.

“...Hey, guys?” Angie, while waiting for the microwave, had wandered over to the office door and was looking out the little eye-height window in it. “I can tell you right now it was a feral Infected, sort of. Probably don’t want to leave right now, though. Lappland and Texas are at it again.”

Bison finally relaxed. “Great.”

“You were really worried, weren’t ya?” Croissant chuckled as the microwave went off.

“He doesn’t handle horror movies very well,” Mostima admitted for him. “Fight response triggers every time. More consistent than the hands on a stopped clock.”

Angelina returned with a tub of popcorn for two, sat back in her girlfriend’s lap, and sighed contently. “Alright, now we should be good! Can someone get the lights?”

“Sure.” Bison got up to do just that...but they went out on their own.

“Did the power go out?” The other Forte glanced around. “No, can’t be. The TV’s still on.”

Admittedly, it wasn’t on a black screen or the DVD menu, but a different movie entirely from the one Angelina had put in. A tree-lined clearing, with a well in the center…“Well that doesn’t look right,” the Vulpo frowned.

“Alright, fuck this, I’m out. I’ll take my chances with Texas’ harem.” Bison stormed out of the office. “Hey, lovebirds, clear a path!”

“And then there were three,” Mostima smiled.

Croissant’s eyes were glued to the TV. “Angie, what the hell did ya do to the TV?”

“Huh? Oh, nothing.” She hit ‘play’ on the remote and flashed her a bright smile. “I just wanted to see if I could get him scared enough to leave.”

“Ya never cease to amaze me.” And with that, movie night carried on as planned.

[grrl-beetle]

GORE-TEX Studio

[tr1yo]

ACRONYM® was launched as an agency in 1994. Its in-house brand debuted in 2002. This TYPE 2371 jacket, developed between 1999 and 2001, was the first commercial product. It was part of the ACRONYM FIRST EDITION KIT, which included a bag, music CD, CD-ROM, and manuals. ACRONYM® continues to redefine the category of outerwear ever since.

GORE-TEX Products Studio | ΛCRИM®

[lightresist]

GORE-TEX Products Studio

[boosqoowoo]

beenzino - train (english lyrics translation)

-cjamm- yeah, oh, oh, oh, oh yeah, oh, oh, oh, oh yeah, oh, oh, oh, oh yeah, yeah, ooh, ooh, ooh -beenzino- i might got Rona

약 입에 털어 넣어 the medicine dissolving in my mouth

이 생일의 서운함 the disappointment of this birthday

어디갔어? 내 초 더 놓아 where did it go? put on more of my candles

you might got Rona

약 입에 털어 넣어 the medicine dissolving in my mouth

이 생일의 서운함 the disappointment of this birthday

어디갔어? 내 초 더 놓아 where did it go? put on more of my candles *rhyme

친구, 나는 배부른 걸 모르고 살았어 dude, i lived without knowing i was full

어른이 주면 무조건 받는 건 줄 알았어 i thought you would receive it unconditionally if an adult gave it to you

계란 껍질 속 어떤 조언은 too hard boiled some advice in the eggshell is too hard boiled

어떤 건 톡, too softy some of it popped off too softy

씹고, 나는 배부른 걸 모르고 살았어 after chewing it, i lived without knowing i was full

어른이 주면 무조건 받는 건 줄 알았어 i thought you would receive it unconditionally if an adult gave it to you

계란 껍질 속 어떤 조언은 too hard boiled some advice in the eggshell is too hard boiled

어떤 건 톡, too softy some of it popped off too softy

내 치킨마요 my chicken mayo

학원 끝나고 after my tuition class

시험이 끝나고 after my exam

I'll be home

홍대에서 몇 캔 a few cans at Hongdae

내 걱정마요 don't worry about me *don't worry (걱정마요) rhymes with chicken mayo (치킨마요)

사업 끝나고 after businesses

시합이 끝나고 after my matches

i'll be home, one day, after away game

i might got Rona

약 입에 털어 넣어 the medicine dissolving in my mouth

이 생일의 서운함 the disappointment of this birthday

어디갔어? 내 초 더 놓아 where did it go? put on more candles

Baby는 서울에 혼자 Baby is alone in Seoul

나는 기차의 손잡이 im holding onto the handles of the train

남았네 이제 또 혼자 i'm left alone again

창가에 눈 with my eyes on the window 탈선하네 탈선 i'm going astray

기억에 마이크 대고 tune을 걸었네 my memory persistently tuned to my mike

i don't know

시간이 어디로 갔는지 where did the time go

날 추적해 보면 혈흔은 온 사방에 if you find me, there is bloodstains everywhere

사격에 소질 없어, 버릇이 살아있네 i have no shooting talent, but i still have the habit

부모님 눈물이 눈에 튀어 tears are sticking out my parent's eyes

가끔은 내 gore-tex도 젖네 sometimes i search for my gore-tex* *GORETEX is a hiking clothing brand

이럴 거면 가는 길에 버려야겠어, man if you're going to be like this, you'll lose your way man

아주 짧아진 낮 탓에 나 nostalgic하네 the days are getting shorter, so i'm nostalgic

살았지 최대한 내 선에선 정직하게 i tried my best to live honestly

선도 넘긴 넘어 without crossing the line

i hope, i could've been perfect

하늘에 익성 쌤이 보고 계실까? ay is Teacher Inseong watching from heaven? ay

'아이구, 저 새끼… 화실 빠지고 허구한 날 rap' 'oh man, this boy… leaving behind the art studio and doing rap day in day out' *Beenzino used to study art in school

콧방귀 끼실까? 쌤 do you want me to snort, teacher?

-c jamm- 폭죽이 없이는 내 얘기도 없지 you can't speak on me without firecrackers

어, 그대로 매일 낮 밤 yeah, i'm doing that every day every night

모든 게 변해도 우리 의린 엽 that's my right, even if everything changes

쟤넨 비닐에 담가 they put it in a plastic bag

예전엔 전부 아껴 썼지 i used to save and treasure everything

되돌아보는 그 기분 알지 looking back, i know that feeling

이젠 먼지 같은 게 나를 배려 now, dust is my consideration *now, the only he worries about is dust, which means he doesn't keep everything anymore, and throws it away

뭐가 뭔지 모르겠네, 걍 버려 i throw it away, without even knowing what it is

삑삑삑, 선을 넘지 넘 beep beep beep, the person who crossed the line

아직 기억이 나네, 잠도 오긴 오네 i still remember, sleep comes easily

가끔이잖아, 할머니들껜 웃어보여 you know those times, when you smile at old grandmothers

이기기 위해서 누군가를 조졌어요 in order to win, i mess with anyone

왜냠, ooh (ooh, ooh, ooh) why

이젠 그냥 평범 (ooh, ooh, ooh) now im just a commoner

균형 같은 거일 걸 (ooh, ooh, ooh) it's like a balance

버스에서 적었던 (ooh, ooh, ooh) what i wrote on the bus

얘긴 다 서랍 속 (ay, yeah) all the stories are in the drawer

나무처럼 지나간 걸로 쳐 leave it there alone like a tree

그 모든 게 사진이 될 건 아니었어 it wasn't all supposed to be pictures

난 기억만큼 가끔 후회가 와 sometimes i regret as much as i remember

내 오답이 노트를 찾았나 봐 find my wrong answers in the note

whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah whoa, whoa, whoa, whoa, yeah

[stevecanmakeanythingnerdy]

Battle #30

Dave Clark Five: 5 by 5 ( Side 1 )

Vs.

Tex Ritter: Comin’ After Jinny ( Side 1 )

Dave Clark Five: 5 by 5 ( Side 1 )

The Dave Clark Five were an English rock and roll band formed in Tottenham in 1957. In January 1964 they had their first UK top ten single, "Glad All Over", which knocked the Beatles' "I Want to Hold Your Hand" off the top of the UK Singles Chart. In fact, often the DC5 as they became known, were compared to The Beatles. They were the second group of the British Invasion to appear on The Ed Sullivan Show in the United States (for two weeks in March 1964 following the Beatles' three weeks the previous month). They eventually appeared 18 times on his show. *ahem* more than any other British Invasion group. Back in those days, that was Thee show to be on if you wanted to make a splash. Dave Clark, who formed the group, was very clever. He struck business deals that allowed him to not only produce the band's recordings but also gave him control of the master recordings. At the time not really a big deal, but pioneering in later years as the music industry grew into a corporate monster. To this day he still retains the rights. Genius. Another aspect that makes the DC5 unique is that they did not follow the psychedelic music trend that was so popular amongst peers at the time. The Dave Clark Five officially disbanded in 1970,while still successfully charting in the UK. This album is the U. S. Release version from 1967. That’s another thing, in those days bands would relentlessly record and tour. Often putting out multiple albums in one single year. The DC5 put out 11 (yes eleven) studio albums from 1964-1967. That’s almost an average of 3 per year?!? Talk about a hit machine! This is why I make a strong argument that DC5 were perhaps not better charting than The Beatles, but certainly more efficient. The first track is “Nineteen Days”. It may be one of their later slabs of wax, but it’s just as soulful. High pitched bitchin’ beats get the countdown on for moving those butts. Mid tempo 60s and I think under 2 minutes! “Something I’ve always wanted” follows and has a definite blues feel. It’s another quick one too and this time with harmonica. In fact, harmonica takes full on lead on the next track, “Little Bit Strong”. Some great, nasty distortion groove too. Dave and his Clark five don’t mess around. They blast right on through. Hell, if they recorded 11 albums in 4 years then they probably know how to rip through a song with little fanfare. “Bernedette” is next and of course there’s a song about a girl. It’s a requirement for a crooner to appear. Very minimal instrumentation, just lovey dovey emos. “Sitting here Baby” is the last tune and a ditty and done in the gold old rock ‘n’ roll style. Great bass solo too. Some vocal scat even. Swing beat makes it sweet. I do feel this album suffers a little as compared to earlier recordings simply because of the barrage. Did I mention 11 (!) albums in 4 years??!?!!?! Oh yeah, and the total run time from start to finish is 11 minutes. It probably took more time to set up one of the mics than it did to record this whole album!

Tex Ritter: Comin’ After Jinny ( Side 1 )

Woodward Maurice "Tex" Ritter was an American country music singer and actor popular from the mid-1930s into the 1960s, and the patriarch of the Ritter acting family (son John and grandsons Jason and Tyler). He is a member of the Country Music Hall of Fame. In fact, he became one of the founding members of the Country Music Association in Nashville, Tennessee and spearheaded the effort to build the Country Music Hall of Fame and Museum. Eventually he was Inducted in 1964. An early pioneer of country music, Ritter soon became interested in show business. He started out doing radio and eventually broadway plays. Also recording songs about cowboy life for Decca Records. He moved on to movies in the 30s and his recording career took off as well. His career continued through the 40s, 50s and 60s and In 1970, Ritter surprised many people by entering Tennessee's Republican primary election for United States Senate! Despite high name recognition, he lost overwhelmingly to United States Representative Bill Brock, who then defeated the incumbent Senator Albert Gore, Sr. in the general election. He passed shortly thereafter in 1974. This release is posthumous dated to 1976. The first song, “Comin’ After Jinny” is very Johnny Cash like. Definitely some slide guitar and pretty lackadaisical as far as country tempo goes. The whole song centers around the storyline of a younger boy coming after his girl. Through colorful description you eventually catch on that his girl is his actual baby child (perhaps granddaughter) and the boy is a younger baby. Ok, it’s clever. You got me, good one, Tex! The next song is titled “Looking Back” and it’s a remorseful tune about nostalgia and love gone wrong. Real cowboy campfire story stuff. “He Who Is Without Sin, Let Him Judge Me” is third in line. This one has a storyline about a guy who steals food for his starving family and is sentenced to prison. The character then goes person by person in the jury and calls them out for their sins. Are you getting it yet? Tex likes to tell tales. “Wand’rin Star” has gang vocals and is a slow cow-poke tune. Even the quiver in his voice makes it more real. This genre is really not my cup of tea, but I will say, Tex is pretty good at what he does. “The Girl Who Carries a Torch for Me” is the last cut. I’ll give you a minute to think about what possible puns might apply...a clue...think patriotic...got it? If you guessed that it’s a tune about the Statue of Liberty, then congratulations! You win! It’s clever stuff, but there was too much talking for me. Convo-core? Spoken word Country? Meh... it’s like your trucker grandpa made a record or something. Worth a listen, but I probably won’t do it again.

Today we witnessed the Dave Clark go 5 x 5. They burned 82 calories over 5 songs and 11 minutes. That’s an average of 16.40 calories burned per song and 7.46 calories burned per minute. DC5 earns 11 (there’s that number again) out of 15 possible stars. Tex Ritter spent his time comin’ after Jinny and burned 95 calories over 14 minutes and 5 songs. Tex burned 19 calories per song and 6.79 calories per minute. He managed to earn 8 out of 15 possible stars. Looks like the DC went 5 x 5 and 1 x WON!

Dave Clark Five: “Nineteen Days”

#Randomrecordworkoutseasonsix

#Randomrecordworkout

[kicksaddictny]

New Balance To Launch the Tokyo Design Studio RC_2

Introducing the New Balance Tokyo Design Studio RC_2, the second exploration in the Reveal series.

An all new silhouette, the Tokyo Design Studio RC_2 features a Gore-Tex upper (exploring the delicate balance between form and function), Encap Reveal cushioning, and a ripple rubber outsole for a distinct blend of protection, comfort, and traction.

New Balance's Tokyo Design Studio allows the brand’s American and Japanese design teams to come together to create innovative products that utilize skillful craftsmanship unique to Japan. The Tokyo Design Studio R_C2 blends the boldness of overt American branding with the Japanese sensibilities of quality, consideration, and craftsmanship.

W. David Marx—author of Ametora: How Japan Saved American Style, contributor to Popeye Magazine, and former editor of the Tokyo-New York street culture magazine Tokion—wears the Tokyo Design Studio RC_2 .Marx takes the new model on a Tokyo tour that goes beyond the usual sites, stopping at, among others, a Frank Lloyd Wright-designed school near Ikebukuro and Inokashira Park in Kichijoji.

Launching in Japan on March 9, Notre on March 16, and at selected global retailers on March 23, each of the three colorways of the Tokyo Design Studio RC_2 retails for $200.