#also the gti one.... has more context but :)

[fifty-ten]

anyways I was thinking about my OCs so I'm "doing it scared" (scared isn't quite accurate, but whatever) and posting about them real quick. specifically i want to talk about land-sea-sky mailcarriers today

landseasky is about a year old now (a little over I think) but it's solidified into something that feels really fun so that makes me happy. it's kind of difficult to know what to say about it though in a way that includes enough context to make it understandable? the basic concept is that it's something similar to PMD (specifically it's made to be the "opposite" to my personal PMD canon - gti was my first game so my canon is based around the concept of the pmd pokémon world being an alternate universe to the human world (that also has pokémon in it) but i also really really like how some of rescue team's locations imply pmd's world might be some kind of post human society. so i wound up incorporating that concept into LSS ^-^) and the focus is on a trio of mailcarriers who wind up doing odd jobs for the people they make deliveries to, so it creates for an episodic format that also lets them meet different characters and explore a lot of places. which is especially good for figuring out what the world's like and stuff and how the main trio reacts to different situations

the reason it's called landseasky (mailcarriers) is because the world uses an elemental typing system based around the land, sea, and sky. the current primary inhabitants of the world are creatures who can use abilities based on the land, sea or sky & the world's remaining landmasses also represent these elements (the world's split kind of cleanly into 3 parts, intended to be like a super scuffed pangaea proxima? that's kind of the idea, anyways.). so that combined with the post-human world concept is part of what makes LSS really cool - the underlying lore idea is that humans disappeared in a cataclysm a few centuries ago (accounts wildly vary - there's some that say that the great dragon (deity) killed humanity for their hubris, that the creatures killed humanity, that humanity killed each other, etc) and the creatures currently inhabiting the world used to be the mon-type monster partners of humanity. so the kind of void space left by humanity is kind of subtly felt even when they're just working at a café for the day after delivering ingredients or something. it's not necessarily the main focus of the story (at least up to a certain point) but it's in the backdrop.

so like I mentioned the world is split evenly into land, sea, and sky and there's not a ton of intermingling between these environments & the creatures that live in them (so land creatures only live on the land, sea creatures only live in the sea, sky creatures only live in the sky). (though I'm not entirely sure why yet). and there's also a smaller continent in the center of all three enviroments where there is actually a variety of creatures. so the mail system of each biome is mostly self-contained but packages to another biome have to go through the central post office in the central continent. but eventually the postmasters (one for each biome) decide to get a little crazy with it and form a group of three creatures from each biome, dubbing it the "through it all" initiative (a reference to the "through rain or wind or snow" thing). and that's how the protagonist trio comes together

i'm using creatures to refer to the characters' species but it could also be monsters or something similar. just something that evokes non-humaness but also not completely animal-ness. tho rn their designs are mostly just like cartoon animals but I do want to get a little sillier with it… I'm just not quite sure how yet.

and i could talk more about it but it's already far too late for when i have to get up… 😊

[perenlop]

For the PMD questions, 5, 11 and 12? (Unrelated but I love your mobile layout! It looks so nice!)

aw thank you!! oneshot is such a pretty game and i really wanted to use it <3

5. Which Pokemon from Gen 7-8 would you consider potential hero/partner options, outside of the regular Starter Pokemon?

ohhh rockruff is def one... spike chunsoft owes me a Puppy hero after not making lillipup a starter option in gates. yamper and impidimp are ideas too... alolan vulpix too if that counts!

11. Any headcanons that take place after the games that you want to share

dusknoir becomes a world renowned explorer again but for real this time, though this is after he makes amends for what he did under primal dialga. he also gives the sableye a home and acts more paternal towards them

grovyle has a long time figuring out what he wants to do, he had hinged his life on his mission and now he feels confused. im thinking he actually does make a full fledged team with dusknoir and celebi and theyre all famous like dusknoir is :D but itd take a bit! he experiments, trying to see what he likes

the future trio time travels to see rin and nimbus again bc i said so

jay and mimi (psmd hero/partner) play a big part in mega evolution research later on in life (but that is tech a spoiler for something so keeping quiet abt it for now)

mimi learns about mewtwo and actively seeks them out. she jokingly adopts them and calls herself their mom, but the two make a genuine bond and it helps mewtwo integrate into pokemon society more after they isolated themself from it

espurr eventually joins the expedition society once she feels confident enough. she primarily becomes mawile's apprentice in archeology, but is also a formidable member in her own right and eventually steps up as one of the strongest members once mawile retires and espurr evolves into meowstic.

azalea (rescue team hero) befriends gengar after the latter takes a major break from the town post-murky cave. azalea had also not been the greatest human before turning into a pokemon, and she genuinely wanted to help him reform once he showed interest/signs of improvement. leopold (partner) takes a while to come around, but a bond is eventually formed between the 3.

eris (gti hero) is eventually trapped in the pmd world due to the dimension being locked, but he's honestly okay with it. his home life wasn't the best and he really only felt the "but we are FAMILY so i cant leave" obligation to return home before. he's since accepted that it was toxic and was honestly just relieved the lock was put up while he was in the pmd universe instead of the human world. he also either never evolves (bc i can never find a thunder stone in gti) or evolves into alolan raichu while his partner elliot evolves all the way into samurott, and elliot lets him ride around on his back. horse.

12. If you could change one thing about your favourite game(s), what would it be?

the darkrai plot hands down. ive rambled before abt why i hate it but basically my idea would be to either keep darkrai as a postgame villain but leave temporal tower and palkia out of it, or to keep his intervention in the main plot but make him a more impactful character. my ideas include

-making him appear earlier ffs. or at least be mentioned/alluded to multiple times in the main story.

-make him more of a character beyond "i want to rule the world" type. like maybe we do go the "tragic villain" route where he didnt HAVE to end up the way he did. like he was feared and hated due to his influence over nightmares that he cant help, but there was also a time related crisis or a drought or something happening at the lakes and treeshroud forest. so darkrai decides to take the time gears from temporal tower to put in those areas, get the lake guardians to look after them, and fix the anomalies there.

-this gets him adoration and love from the region and he's upheld as a hero. he revels in it and loves the affection.

-unfortunately he wasn't aware of the long term disaster of temporal tower's collapse... he panics at the thought of people hating him again once he learns (probably through dialga telling him or something), but then he has a thought like "wait. what if i LET that happen and i can swoop in and save everyone in the aftermath, dont connect it to the time gears and instead make it out to have been this unforeseeable disaster, and he keeps everyone together and they still love him! so he basically leaves dialga high and dry bc he's rather do that than admit his mistake.

-cresselia then tries to stop him and thats how shes involved. maybe he puts her in a nightmare

-darkrai kinda just. REALLY wants to die on this hill basically, hes desperate to keep the love pokemon have for him now and doesn't want to lose it.

-he probably doesnt interfere with the time travel bc darkrais cant naturally time travel. in fact he has no idea what the future is even like. hes CONVINCED hes gonna be this grand hero in the dark future

-darkrai is also seen or mentioned a lot throughout the story explaining his connection to the time gears.

-ofc hero and partner stop temporal towers collapse and pokemon put two and two together abt the time gears and start to be wary abt darkrai again. he starts to despise them and plots for them to be... "removed" from the world so to speak. so in postgame, where his plot usually takes place, he starts trying to manipulate them like he does in main game. but what hes also trying to do is frame them. he puts nightmares in other pokemons heads about hero and partner, exaggerating their space distortion and saying theyll be the end of the world if they arent eliminated. basically he's trying to do what gengar did. i dont think another witchhunt deal will happen both bc the pokemon do genuinely trust and love them + we wouldnt want to just repeat the first game anyways, but it DOES isolate them just enough to create a divide (that wigglytuff/cresselia eventually fixes up) and make the hero/partner really doubt themselves and basically plants that seed of doubt in everyone. darkrai then gets it in his head to ACTUALLY distort space so that the pokemon blame it on hero and partner, and the stuff w palkia happens as it does ingame. darkrai is exposed again by cresselia (idk if azurill gets a permanent nightmare here? i kinda wanna keep that bc i love that dungeon but idk if its narratively appropriate now) and he runs off to dark crater

-basically the dark crater confrontation happens except darkrai doesnt have a band of pokemon. a boss battle happens and he rants about how the hero and partner ruined everything for him, his backstory is revealed, and he says that he wanted hero and partner to go through what he did. everything would've been fine if they hadnt meddled, if they had just stayed put in their respective timelines and let everything go as planned! they didnt have to ruin him a second time! if they had just let time go, he wouldve kept the respect he had, and he wouldnt be an outcast again! he wouldve kept everyone happy even with the ruined world, it wouldve been fine!

-... and then partner drops the fact that they hadn't heard a whisper of him in the future. it's not to rub it in his face, its a genuine question: "if you were supposed to save everyone... where were you? we were in the future... if you had been there, surely you would've been mentioned?"

-this breaks darkrkai. the fact that his future was just a desperate attempt to cling to a fantasy, it makes him realize just how ridiculous he'd been this whole time. all this time, he had just been hurting the same pokemon he wanted adoration from. this is where he flees, maybe into a dimensional hole (palkia might have made it?) and i'm not sure if he loses his memory here, but it does leave him in a place where he can be recruited and reformed if the player so choses.

[adrenalineguide]

2019’s Top Rides: Part 3/Buick Regal GS, Subaru Ascent and Golf R

By Michael Hozjan

Buick Regal GS AWD: Buick gets it right

At 12, I wanted to be a car designer. Fate however had different plans for me. With an eye for automotive design, I grew up loving Buicks; from the ’57 Special to the ’59 Invicta, with the ’64 Wildcat stealing my heart time and again. Cadillacs took a close second, Fords were ok but I found Chevs too feminine. Buicks, were masculine with broad shouldered front fenders and creased lines, personifying the designing cues of GM greats, Harley Earl and Bill Mitchell.

Then came the Riviera. One snowy December afternoon as I headed to my post office, there on St. Lawrence Boulevard, with six inches of snow on the ground sat a ’65 Riviera. My heart skipped several beats and I must have studied its lines for what seemed like an eternity.

Well into the ‘70s there were some noteworthy designs that came out of Buick’s design studios however, the last four decades have been anything but exciting. That has all changed with the launch of the Regal GS – the sexiest Buick to come out of Detroit in, well the last four decades.    

The Grand Sport designation is nothing new to the Buick line up, having been associated with ‘70s era muscle cars but this is the first time that it has been used in a European sports sedan context. The stylish GS goes up against some well established rivals like the Acura TLX, Lexus ES, BMW 3 series and the like, a tough field to say the least. The Regal GS is more than just good looks, it’s a bona fide sports sedan. In fact a rebadged, German built, Opel Insignia, so the GS starts with the right genes. European engineered handling makes it the best tarmac gripping Buick ever.

Red Brembo brake calipers immediately tell everyone that this is not your typical Buick.

While different drive options/trim levels are available elsewhere around the globe, we Canucks get only one trim/drive option- also the most desirable one - the all-wheel-drive version motivated by the 310 horsepower DOHC, 3.6L V6 with variable valve timing punching out 282 lb-ft of torque through a 9-speed automatic.  

Entry price is $44,045, my tester came with the Buick Experience Package ($3,495) that included the moonroof, a Bose premium 8-speaker sound system, wireless charging, an 8” touch screen, HD radio, LED leveling headlights, The Driver Confidence Package (yes you read that right) at $1,995 includes adaptive cruise, forward collision alert with automatic braking, lane keep assist, front pedestrian braking and heads up display. The Ebony Twilight Metallic paint was a premium option at $495.

The all-wheel-drive gets a torque vectoring rear axle, which only improves traction in slippery conditions and makes the Buick eat up the corners. Buick has also given us three driving modes to choose from, Touring, Sport and GS 

Inside you’ve got one color choice, black. The supportive Recaros have a massage feature as well as being heated/cooled. Both driver’s and passenger seats have 14 adjustments to suit your body, including adjustable bolsters. Following with the German sport sedan traits, it includes a flat-bottomed steering wheel.

Rear seat passengers get ample legroom, but headroom is tight for taller occupants. With 30.cu.ft of space under the hatch with the rear seats up, with over 60 cu.ft with the rear seats folded, it betters many compact crossovers!

Is it perfect?

Non-functional air intakes in the front valance are mickey-mouse and a step backwards. Why not leave them open and help cool the brakes? No spare tire but a useless tire fix kit –that’ll help when you have a blow out or bend a wheel on Quebec’s pot holes. On the comical side, the audio system had mixed up the Cirius station numbers it’s 60s on 6 and not 660s on six….and the same could be said for 50s on 5 not 550s on 5, as well as 70s, 80s and 90s.

You can go through the gears manually with the console mounted shifter but paddle shifters would have been a nice touch to compliment the smooth 9-speed automatic.

Will the GS steal buyers away from BMW? I hardly doubt it but it does give of us a formidable option to keep our performance dollars with domestic manufacturers, and the GS buyer has nothing to be apologetic for. 

 Price as tested: $52,050*

*Includes destination charges and a/c excise tax

 Subaru Ascent: If at first you don’t succeed…

If you thought that Subaru already had a large SUV you’re right. The magic word here being had. The B9 Tribeca, later shortened to just Tribeca debuted in 2005 to, lets just say a less than stellar sales, and by 2014 had moved into the automotive history books of what once was.

It takes guts to admit that you were wrong, and it takes even big cojones to come back with a similar sized vehicle. Truth be told the SUV market has also changed over the last decade with SUVs growing increasingly larger, just like the population. Subaru appears to have been ahead of its time back in 2005 when 3-row SUV’s didn’t proliferate our roads, and minivans still reigned supreme for getting the platoon to school. But times have changed and so the new Ascent is the company’s answer to the latest trend.

The Ascent is also Subaru’s largest vehicle to date, with 142 mm longer wheelbase and 134 mm longer in length than the Tribeca, so yes passenger comfort has been greatly increased. The midsize SUV is built on the company’s Global Platform, a chassis that is easily adaptable; serving as the basis for everything from their Impreza and Crosstrek to the Ascent.

Available in four trim levels – Convenience, Touring, Limited and Premier - with the entry level 8-passenger Convenience starting at a meager $36,695. Regardless of trim, there’s a new 2.4L direct-injected, turbocharged boxer four cylinder dolling out 260 horses and 277 lb-ft of torque through the High-torque Lineartronic CVT (continuously variable transmission).   

Talk to anyone who’s ever driven a Subie in less than ideal conditions and they’ll swear by the symmetrical full-time all-wheel-drive system. A new feature, X-Mode, pushes the traction envelope even further; at the push of a button, it monitors and controls four different vehicle dynamics, including engine, transmission, torque splitting and braking.

There’s a lot of standard driver-assistance technology in each Ascent without having to step up to trim levels, Items like automated emergency braking and lane-keeping assist through the company’s EyeSight system. The base model gets a 6.5 inch infotainment screen while upper trim buyers will see an 8 inch screen. GPS however is only available in the two higher end trims (Limited and Premier). Both Touring and Limited are available in either seven or eight passenger configurations with captain’s chairs taking up the second row. My tester, the Premier trim comes only with the second row captains chairs. While all trims get heated front buckets it’s only the two higher trims that pamper their second row passengers with heated outboard seats. The third row looks a lot more inviting than some of it’s competitors but it’s still on the tight side with limited leg room. Still bear in mind this is a mid-size seven passenger and the seats are padded and comfortable to keep the small fry happy for longer drives. Oh and a pair of third-row USB charging ports become available in the Limited trim and are in addition to the standard two you’ll find in the front and second rows.

Rear cover blind and tow loop are stowed neatly under the cargo bay’s floor, the latter an option on some pricier suvs

.

Whether you’re out in the boonies or negotiating city streets, the Ascent doesn’t feel like a large bulky SUV. With above average handling and a minimum of body roll for a three-row SUV, Subaru’s use of the boxer engine and its advantageous low center of gravity immediately become apparent. It’s stable, with a soft luxurious ride and is generally quiet during normal highway cruising. But it does get loud when pushed hard.

Is it perfect?

The drone of the CVT does get annoying but once you get passed that, the Ascent is typically Subaru; it does everything what it’s supposed to and does it well. I averaged 9.8L/100 km which is unprecedented in a 7-passenger sport ute. It may not be overly luxurious but you get what you pay for. I know my Subaru driving friends will all be looking at the Ascent when the time comes to turn in their current drives, and that alone will keep this big Subaru around for a long time to come.

Price as tested: $52,795*

* Includes destination charges

Volkswagen Golf R: You’ll want one

If you’ve missed my installment of the Rabbit GTI, I urge you to scroll down the page and have a read.

Now take the GTI and turn it up a notch, or three. The formula for the Golf R is very simple; take one German built spacious hatchback that already has solid, tight handling, and add gobbs of turbocharged horses to a 2.0L inline four cylinder. How many ponies? Two eighty-eight to be exact – enough to propel you well past the posted speed limit in less time than it takes you to say posted speed limit. Now stir in all-wheel drive to put all that power to the ground. Slam it to the ground for added handling. Dress it up with killer 19” wheels.

Choose between the 6-speed manual available for $42,495 or the 7-speed dual clutch automatic with Tiptronic for $43,895. Now go have the most fun you can with your clothes on.

Doesn’t look like it but there’s nearly 300 horses in there

Quad exhaust tips tell you this is no ordinary Golf

The Golf R is everything you want in a performance sedan and then some. It makes no sense in a country with posted speed limits, but then neither do Porches, Ferraris and the like.   

Price as tested: $49, 290*

*Includes destination charges and a/c excise tax

[itswallstreetpr]

Are Cannabis Stocks Waking Back Up? (GTBIF, NUGS, TLRY, CURLF)

Big tech stocks are overvalued. Banks are overvalued. Airlines are heading towards government assistance to avoid bankruptcy. Restaurant and hotel stocks are teetering on the verge of oblivion. But one group of stocks no longer in the bullish sentiment spotlight is suddenly putting up triple-digit percentage top-line growth after plummeting to chronic oversold levels for the past two years: cannabis stocks. Remember those? They were all the rage back in 2016-2018 as analysts ramped up long-term industry growth estimates to nose-bleed levels. Suddenly, it was obvious to everyone at the same time that the sky was the limit because the market was inexorably going “legal”. Guess what: that narrative is still 100% intact at this point. And the stocks have bled down to book-value type levels, with debt loads driving many players out of existence over recent months. The remaining players on the game board are suddenly looking at reduced competition, lean valuations on a price-to-sales basis, no speculative hype, improving technical postures, monstrous growth trends, and the same long-term promise that made them so popular 24 months ago. This could be a defining opportunity for speculators in search of growth. With that in mind, we have gathered a handful of top prospects for more in-depth analysis and discussion: Green Thumb Industries Inc (OTCMKTS:GTBIF), Cannabis Strategic Ventures (OTCMKTS:NUGS), Tilray Inc (NASDAQ:TLRY), and Curaleaf Holdings Inc (OTCMKTS:CURLF).   Green Thumb Industries Inc (OTCMKTS:GTBIF) is a national cannabis cultivator, processor and dispensary operator. It markets products through third party retailers. It also owns and operates a chain of 50 retail stores under the RISE dispensaries name, which has been growing in footprint as one of the fastest expanding dispensary operations in the US market. The company was actually also named a Best Workplace 2018 by Crain’s Chicago Business. As a vertically integrated company, GTI manufactures and sells a well-rounded suite of branded cannabis products including flower, concentrates, edibles, and topicals. The company also owns and operates a rapidly growing national chain of retail cannabis stores called RISE(TM) dispensaries. Headquartered in Chicago, Illinois, GTI has seven manufacturing facilities and licenses for 50 retail locations across seven highly regulated U.S. markets. Established in 2014, GTI employs more than 350 people and serves hundreds of thousands of patients and customers each year. If you're long this stock, then you're liking how the stock has responded to the announcement. GTBIF shares have been moving higher over the past week overall, pushing about 5% to the upside on above average trading volume. Green Thumb Industries Inc (OTCMKTS:GTBIF) pulled in sales of $100.1M in its last reported quarterly financials, representing top line growth of 264.8%. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($60.5M against $144.4M, respectively).   Cannabis Strategic Ventures (OTCMKTS:NUGS) seems to be on a big roll right now. The company just put out word that it will have an expanded inventory ready for sales and shipment next week after a sharp surge in sales in early May left the Company “sold out” every week for the past month for the first time in its history. This is a name that recently expanded its total production capacity by as much as 150% (ie, more than doubled its cannabis production) likely because of its growing distribution partnerships, which represent the main driver for sales for a company like this. The California cannabis marketplace is seeing a shortage right now, so producers have the best context possible – unless they aren’t in a position to expand production. NUGS, luckily for its shareholders, has been able to scale up to capitalize on the context and drive what looks to be a pretty dramatic topline growth acceleration. To wit: Cannabis Strategic Ventures (OTCMKTS:NUGS) is coming off a record month of sales in April, where it booked orders at an annualized pace exceeding $10 million. In all, April sales came in more than 800% higher than the average monthly sales performance logged during the Company’s calendar Q1 – momentum that has carried over into May sales data. “We have never seen anything like this,” noted Simon Yu, CEO of Cannabis Strategic Ventures. “We booked $100,000 in one day to clear out all of our remaining inventory. We anticipated this dynamic but still underestimated the force of the trend. Too much demand is always the problem you want to have. And we are confident we will be able to translate this into further upside in terms of our top line growth curve.”   Tilray Inc (NASDAQ:TLRY) generated sales of $46.9M, according to information released in the company's most recent quarterly financial report. That adds up to a sequential quarter-over-quarter growth rate of -8.2% on the top line. In addition, the company has a strong balance sheet, with cash levels far exceeding current liabilities ($96.8M against $92.4M). The company offers its products in Argentina, Australia, Canada, Chile, Croatia, Cyprus, the Czech Republic, Germany, New Zealand, and South Africa. Tilray, Inc. was incorporated in 2018 and is headquartered in Nanaimo, Canada. One of its key subsidiaries is High Park, which was launched to produce and distribute world-class cannabis brands and products for the Canadian market. Based in Toronto and led by a team with deep experience in cannabis and global consumer brands, High Park has secured the exclusive rights to produce and distribute a broad-based portfolio of cannabis brands and products in Canada, subject to applicable laws and regulations. Tilray Inc (NASDAQ:TLRY) is one of the highest profile names in the space. But if you look under the surface, there are some pretty significant debt-servicing issues to deal with. As long as we are in an expanding growth context for the space, that may not hurt the stock. But during any lull, you can bet this one will be a whipping post. In total, over the past five days, shares of the stock have dropped by roughly -3% on above average trading volume. All in all, not a particularly friendly tape, but one that may ultimately present some new opportunities.   Curaleaf Holdings Inc (OTCMKTS:CURLF) is one of the biggest players in terms of the US market. The company has the potential to take further market share and could come to dominate the integrated medical and wellness cannabis space for the domestic US market over time, given its success and first-mover breadth. The stock put in a key low under $3 per share in March, and has since exploded higher over 70%. Curaleaf Holdings Inc (OTCMKTS:CURLF) operates as an integrated medical and wellness cannabis operator in the United States. The Company is the parent of Curaleaf, Inc., a leading vertically integrated cannabis operator in the United States. Headquartered in Wakefield, Massachusetts, Curaleaf, Inc. has a presence in 12 states. Curaleaf Inc.'s Florida operations were the first in the cannabis industry to receive the Safe Quality Food certification under the Global Food Safety Initiative, setting a new standard of excellence. The company also provides non-cannabis services to licensed cannabis operators in the areas of cultivation, extraction and production, and retail operations. CURLF shares have been acting well over the past five days, up about 22% in that timeframe. Shares of the stock have powered higher over the past month, rallying roughly 37% in that time on strong overall action. Curaleaf Holdings Inc (OTCMKTS:CURLF) managed to rope in revenues totaling $99.6M in overall sales during the company's most recently reported quarterly financial data -- a figure that represents a rate of top line growth of 136%, as compared to year-ago data in comparable terms. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($54.9M against $137.8M, respectively). Read the full article

[perksofwifi]

2020 Porsche Macan Review: Entry-Level SUV Packs a Punch

This is it. The cheapest new Porsche you can buy. The 2020 Porsche Macan starts at $52,250, including destination, a little over half what you’ll pay for a base 911 Carrera. What that gets you is a premium compact SUV powered by a 248-hp turbocharged four-cylinder engine, a description that could equally be applied to an AWD Lincoln Corsair that’s about $12,000 cheaper. Is the Porsche badge really worth that much more?

The truth is, of course, you’re buying more than just the badge. Although it lacks the exhilarating punch of the $61,000 Macan S, this entry-level Macan retains all the other goodness of its V-6-powered sibling. As with the Macan S, the 2019 model year upgrades build on the baby Porsche SUV’s benchmark dynamics and trademark design cues to deliver improved ride comfort, lower noise levels, a state-of-the-art communications and navigation system, and simple but effective styling tweaks.

It might be the slowest, least powerful Porsche in the lineup, but the Macan still corners, steers, and stops like an SUV whose dynamics have been honed by a sports car specialist. It’s compact and wieldy, feels like it’s been machined from a billet of steel, and looks … like a Porsche.

Visual changes introduced as part of the 2019 model year refresh include a new front fascia with gaping vents either side of the grille to give the car a broader stance on the road. There’s a new rear fascia, too, along with the full-width taillight graphic that’s now a Porsche family design signature. Porsche has made 21-inch wheels available on the Macan for the first time, and there are four new exterior colors. LED headlights are standard, but new technology makes the biggest splash inside, courtesy of the 10.9-inch high-definition touchscreen in the center of the dash that provides the user interface for the Porsche Communication Management system (PCM). PCM, which made its debut in the Panamera, features beautifully rendered graphics and fast reaction times, and the screen layout can be customized several different ways.

The chassis concept is fundamentally unchanged from that of the previous model. That means multilink suspension front and rear and the choice of conventional steel springs or height-adjustable two-chamber air suspension. The front suspension components are now aluminum, however, reducing unsprung mass by 3.3 pounds and improving front axle stiffness. The optional air suspension system has optimized rolling pistons and new damping hydraulics, and the stabilizer bars have been recalibrated to deliver more neutral handling. The Macan also now follows the bigger Cayenne’s asymmetric tire strategy, the fronts slightly narrower than the rears, no matter what size wheel you order.

The seeds of doubt—is the Macan really worth Porsche money?—are sown by what’s under the hood. The 248-hp, 2.0-liter four-banger nestling there is a Porsche-massaged version of the VW Group’s versatile EA888 turbo engine, variants of which power a number of everyday Volkswagens—and some special ones, too, such as the iconic Golf GTI and the 166-mph pocket supercar that is the Golf R. It gets a new direct-injection cylinder head with centrally located injectors and makes its peak power from 5,000 rpm to 6,750 rpm and 273 lb-ft of torque from 1,600 rpm to 4,500 rpm. On paper that’s surprisingly mid-pack, especially in the context of the 306 hp churned out by the Golf R’s version of the engine. It’s a different story on the road, though.

Let’s rewind to that AWD Lincoln Corsair: The Macan has virtually the same power and torque and weighs about 100 pounds more, but it’s a full second quicker to 60 mph. The Porsche’s headline output numbers are only part of the story; what’s more important is how they’re deployed. Peak torque arrives much earlier than in the Lincoln and hangs on for 1,500 more revs, while peak power arrives 500 revs sooner and continues to be developed 1,250 rpm after the Lincoln’s engine has begun to run out of breath.

Working in conjunction with the slick, efficient, responsive seven-speed PDK transmission, the Macan’s engine thus punches above its weight. Selecting Sport mode delivers crisper throttle response and allows the transmission to hold a lower gear even when you lift off, helping the Porsche feel more alert in traffic or on a winding two-lane. Use the paddles, and the Macan can be hustled from point to point with the neatness of a hot hatch, though the rear-biased torque split gives it the balance of a sports car. And with less weight over the front axle than its V-6-powered sibling, the Macan feels just a touch more alert the moment you turn the steering wheel.

Our tester was fitted with more than $13,500 worth of extras, not hard to do given Porsche’s extensive—and expensive—options list. Some, like heated front seats ($530) and auto dimming mirrors ($420), should really be standard equipment on a $52,250 vehicle. Even charging extra for partial leather trim ($1,740) at this price point seems egregious.

You can quibble over color choice ($750 for anything other than black or white, though the Carmine Red, Chalk, and Miami Blue special colors from the Porsche 911 palette will cost you $3,120) and whether you want wheels bigger than the standard 18-inch units; the cheapest 19-inch wheel is $1,660, and the cheapest 20-incher an eye-watering $4,200. But one option definitely worth considering is the height-adjustable air suspension ($2,750), which adds a syrupy layer of compliance to the tightly controlled body motions, no matter which wheel/tire combination you choose to fit.

It may have less motor than the six-cylinder Macan S, but this four-cylinder Macan doesn’t feel less of a Porsche. It’s merely a slower one: 0–60 mph in 6.3 seconds versus 5.1 seconds, according to Porsche, with a top speed of 142 mph versus 157 mph. You get bigger front brakes (360mm versus 34 mm) and 19-inch wheels and tires as standard on the Macan S. But unless you’re always hustling along canyon roads, where the six-cylinder version’s superior midcorner throttle adjustability and greater punch on corner exit are immediately noticeable, you’re basically spending an extra $8,500 to save a tick of the clock you won’t notice and get an extra 15 mph you can’t use. In this context, the Porsche Macan makes sense.

Besides, Porsche and four-cylinder Volkswagen engines have a long history together. Right back to the beginning, in fact.

The post 2020 Porsche Macan Review: Entry-Level SUV Packs a Punch appeared first on MotorTrend.

https://www.motortrend.com/cars/porsche/macan/2020/2020-porsche-macan-first-drive-review/ visto antes em https://www.motortrend.com

[joshuajacksonlyblog]

Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So

While Bitcoin’s price seemingly moves without rhyme or reason — collapsing by dozens of percent and embarking on face-melting rallies on a whim — the cryptocurrency market is filled to the brim with fractals.

Related Reading: Analyst: Bitcoin Price Likely to Fall to Low-$8,000s as Chart Remains Weak

A brief aside: A fractal, in the context of technical analysis and financial markets anyway, is when an asset’s price action is seen during a different time. This form of analysis isn’t that popular, but it has proven to be somewhat valuable in analyzing Bitcoin.

One recent fractal popularized by a well-known cryptocurrency trader is implying that BTC is going to return to the low-$7,000s in the coming days.

Bitcoin Fractal Implies Retracement to Low-$7,000s

A well-known crypto trader going by “Tyler Durden” on Twitter recently posted the chart below, which shows that a Bitcoin price fractal may be playing out. The fractal has four phases: horizontal consolidation marked by one fakeout, a surge above the consolidation phase, a distribution, then a strong drop to fresh lows.

If the fractal plays out in full, BTC could reach the low-$7,000s again, potentially as low as $7,100. This would represent a 20-odd percent collapse from the current price point of $8,800.

$XBT pic.twitter.com/8RHSsGHLQi

— Tyler (@TylerDurden) November 9, 2019

It isn’t only a fractal that is hinting Bitcoin has the potential to visit its lows. As we reported on Saturday, Bloomberg believes that if the GTI Vera Convergence Divergence Indicator flips red, a downtrend could push the cryptocurrency back to $7,300.

Related Reading: Stephen Colbert Pokes Fun at Bitcoin in Monologue: Mainstream Gone Wrong?

Can Bulls Step In?

But again, many believe it is irrational to have such bearish interpretations of the cryptocurrency’s chart at the moment. As reported by NewsBTC earlier, Popular crypto trader Mayne recently noted that the “people waiting for $6,000” are irrational. He quipped that Bitcoin retracing and consolidating after its fourth-biggest bull move in history ($7,300 to $10,500, a 42% gain) is perfectly par for the course, but noted that it’s totally possible we can go lower from $8,800.

The medium-term technicals support this.

Trader and CoinTelegraph contributor FilbFilb found that by the end of November or start of December, the 50-week and 100-week moving averages will see a “golden cross,” which he claims is far more significant” for the Bitcoin market that other technical crosses.

Also, a Bitcoin price model created using Facebook Prophet machine learning found that the leading cryptocurrency is likely to end the year at just over $12,000. What’s notable about this model is that it called the price drop to $8,000 months in advance, and forecasted a ~$7,500 price bottom for BTC.

To put a cherry on the cryptocurrency cake, Crypto Thies observed that when Bitcoin bottomed at $7,300, it bounced decisively off the 0.618 Fibonacci Retracement of the move from $3,000 to $14,000, which correlates with the two-week volume-weighted moving average. He added that summer 2019’s consolidation was marked by Bitcoin flipping major resistances into support levels, implying that a bullish reversal and subsequent continuation is likely possible in the coming weeks.

As soon as $BTC bounced off of the .618, many should have started hoarding #bitcoin like it was …well, Bitcoin.$BTC Bears beware…you may not want to short this next 'attempted' pump

As price sits at $9.4k as of this post, my notes below highlight what to expect in Nov/Dec pic.twitter.com/XfBE6Kf0Yz

— CryptoThies (@KingThies) November 6, 2019

Featured Image from Shutterstock

The post Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So appeared first on NewsBTC.

from Cryptocracken Tumblr https://ift.tt/2Q3Nh0V via IFTTT

[michaelbennettcrypto]

Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So

While Bitcoin’s price seemingly moves without rhyme or reason — collapsing by dozens of percent and embarking on face-melting rallies on a whim — the cryptocurrency market is filled to the brim with fractals.

Related Reading: Analyst: Bitcoin Price Likely to Fall to Low-$8,000s as Chart Remains Weak

A brief aside: A fractal, in the context of technical analysis and financial markets anyway, is when an asset’s price action is seen during a different time. This form of analysis isn’t that popular, but it has proven to be somewhat valuable in analyzing Bitcoin.

One recent fractal popularized by a well-known cryptocurrency trader is implying that BTC is going to return to the low-$7,000s in the coming days.

Bitcoin Fractal Implies Retracement to Low-$7,000s

A well-known crypto trader going by “Tyler Durden” on Twitter recently posted the chart below, which shows that a Bitcoin price fractal may be playing out. The fractal has four phases: horizontal consolidation marked by one fakeout, a surge above the consolidation phase, a distribution, then a strong drop to fresh lows.

If the fractal plays out in full, BTC could reach the low-$7,000s again, potentially as low as $7,100. This would represent a 20-odd percent collapse from the current price point of $8,800.

$XBT pic.twitter.com/8RHSsGHLQi

— Tyler (@TylerDurden) November 9, 2019

It isn’t only a fractal that is hinting Bitcoin has the potential to visit its lows. As we reported on Saturday, Bloomberg believes that if the GTI Vera Convergence Divergence Indicator flips red, a downtrend could push the cryptocurrency back to $7,300.

Related Reading: Stephen Colbert Pokes Fun at Bitcoin in Monologue: Mainstream Gone Wrong?

Can Bulls Step In?

But again, many believe it is irrational to have such bearish interpretations of the cryptocurrency’s chart at the moment. As reported by NewsBTC earlier, Popular crypto trader Mayne recently noted that the “people waiting for $6,000” are irrational. He quipped that Bitcoin retracing and consolidating after its fourth-biggest bull move in history ($7,300 to $10,500, a 42% gain) is perfectly par for the course, but noted that it’s totally possible we can go lower from $8,800.

The medium-term technicals support this.

Trader and CoinTelegraph contributor FilbFilb found that by the end of November or start of December, the 50-week and 100-week moving averages will see a “golden cross,” which he claims is far more significant” for the Bitcoin market that other technical crosses.

Also, a Bitcoin price model created using Facebook Prophet machine learning found that the leading cryptocurrency is likely to end the year at just over $12,000. What’s notable about this model is that it called the price drop to $8,000 months in advance, and forecasted a ~$7,500 price bottom for BTC.

To put a cherry on the cryptocurrency cake, Crypto Thies observed that when Bitcoin bottomed at $7,300, it bounced decisively off the 0.618 Fibonacci Retracement of the move from $3,000 to $14,000, which correlates with the two-week volume-weighted moving average. He added that summer 2019’s consolidation was marked by Bitcoin flipping major resistances into support levels, implying that a bullish reversal and subsequent continuation is likely possible in the coming weeks.

As soon as $BTC bounced off of the .618, many should have started hoarding #bitcoin like it was …well, Bitcoin.$BTC Bears beware…you may not want to short this next 'attempted' pump

As price sits at $9.4k as of this post, my notes below highlight what to expect in Nov/Dec pic.twitter.com/XfBE6Kf0Yz

— CryptoThies (@KingThies) November 6, 2019

Featured Image from Shutterstock

The post Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So appeared first on NewsBTC.

from Cryptocracken WP https://ift.tt/2Q3Nh0V via IFTTT

[perenlop]

Could you tell me more about Starfall? I really like what I've heard so far, but some more context for the characters/their world or even just a preview of the very beginning of the story, would be really cool to see, anything you want to talk about!

AAA ok ok so starfall honestly is. weird. its a pmd story ofc but its also a dimension travel story in the vein of svtfoe sooo things may be kinda wacky but i can share some things abt the story and the pmd world itself!! the story itself has. quite a bit going on tk the point where i already have a prequel mostly scripted that im waiting until starfall itself is more finished to actually start. adhd storytelling folks.

basically though the Starting Plotline is that this platinum ranked team called team silverwind (Castor, Atlas, and Quinn!) get roped into a job request dealing with wormholes that have been popping up throughout the world and something goes VERY wrong and the team pretty much drops off the face of their world and the multiverse entirely. so, our main trio team starlight- Asha, castor and atlas’s daughter whose spent her entire life traveling through wormholes and is tired and mad about everything, Skylar, an amnesiac impulsive dare devil adventurer who wants answers and to help their new friends, and Valerie, the optimistic happy go lucky newest friend whose never been outside her hometown much less her dimension and just kinda fell into the plot- have all set out to find the lost exploration team, find out what happened, and maybe see if they can fix the wormhole issue themselves while theyre at it!

valerie’s hometown, Serenade Falls, is set on mist continent (aka the gates to infinity continent) and is “the hub world” as you will... its kiiinda like a vacation place ironically so like there are a ton of attractions and places to relax and Just Have Fun. theres only one official rescue team placed there (as anyone there knows anyways ;) ) because its so safe. as of right now anyways. hint. in fact skylar chose to stay there after meeting valerie bc “asha we are way too young for constant anxiety and stress we need a decent rest stop now”. so yeah thats the town where our main gang rests and plans things in. the first arc basically is them going into the wormholes, searching for these people, getting into some plot relevant shenanigans, and mayybe getting some hints about their lives that make them question their own selves and the universe but perhaps. ;)

there is also stuff going on in the pmd world as well ofc tho!! bc im assuming people read pmd stuff to see more abt the pmd world. the events of the games are referenced, some more relevant than others (one main driving point of the story actually is caused by gti, but uh spoilers for that game so i wont say 😔) but starfall takes place yeeeaaars after psmd, id say five generations or so after that game. idk if people will care for it but the main things dealt with in the pmd world itself will be emotional stuff. some exploring and conflicts there, of course! but the majority it will deal with is character stuff.

i cant give an official preview or anything yet but i can give a brief thing of what the opening will be like! the prologue will basically show team silverwind’s apparent demise, with atlas handing baby asha to castor and he escapes with them and goes on for a while as she ages before he eventually vanishes too. (or i could cut that and just show the scene of him vanishing... still pondering What Works with the prologue 😔) and chapter 1 is basically about how valerie meets skylar and asha! basically she falls into a wormhole and they help her out of trouble! dont mind spoilers like that bc. its chapter 1. but yeah! its gonna be fun, more fun than it sounds! (besides the prologue thats just gonna be sad sorry)

i could go on about the characters but i feel ive made the post too long as is but THANK YOU i love talking about starfall ty!! im sorry if this was kinda incoherent bc my brain is kinda rushing rn it was more rambly but i hope it answered some questions at least!!

[brettzjacksonblog]

Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So

While Bitcoin’s price seemingly moves without rhyme or reason — collapsing by dozens of percent and embarking on face-melting rallies on a whim — the cryptocurrency market is filled to the brim with fractals.

Related Reading: Analyst: Bitcoin Price Likely to Fall to Low-$8,000s as Chart Remains Weak

A brief aside: A fractal, in the context of technical analysis and financial markets anyway, is when an asset’s price action is seen during a different time. This form of analysis isn’t that popular, but it has proven to be somewhat valuable in analyzing Bitcoin.

One recent fractal popularized by a well-known cryptocurrency trader is implying that BTC is going to return to the low-$7,000s in the coming days.

Bitcoin Fractal Implies Retracement to Low-$7,000s

A well-known crypto trader going by “Tyler Durden” on Twitter recently posted the chart below, which shows that a Bitcoin price fractal may be playing out. The fractal has four phases: horizontal consolidation marked by one fakeout, a surge above the consolidation phase, a distribution, then a strong drop to fresh lows.

If the fractal plays out in full, BTC could reach the low-$7,000s again, potentially as low as $7,100. This would represent a 20-odd percent collapse from the current price point of $8,800.

$XBT pic.twitter.com/8RHSsGHLQi

— Tyler (@TylerDurden) November 9, 2019

It isn’t only a fractal that is hinting Bitcoin has the potential to visit its lows. As we reported on Saturday, Bloomberg believes that if the GTI Vera Convergence Divergence Indicator flips red, a downtrend could push the cryptocurrency back to $7,300.

Related Reading: Stephen Colbert Pokes Fun at Bitcoin in Monologue: Mainstream Gone Wrong?

Can Bulls Step In?

But again, many believe it is irrational to have such bearish interpretations of the cryptocurrency’s chart at the moment. As reported by NewsBTC earlier, Popular crypto trader Mayne recently noted that the “people waiting for $6,000” are irrational. He quipped that Bitcoin retracing and consolidating after its fourth-biggest bull move in history ($7,300 to $10,500, a 42% gain) is perfectly par for the course, but noted that it’s totally possible we can go lower from $8,800.

The medium-term technicals support this.

Trader and CoinTelegraph contributor FilbFilb found that by the end of November or start of December, the 50-week and 100-week moving averages will see a “golden cross,” which he claims is far more significant” for the Bitcoin market that other technical crosses.

Also, a Bitcoin price model created using Facebook Prophet machine learning found that the leading cryptocurrency is likely to end the year at just over $12,000. What’s notable about this model is that it called the price drop to $8,000 months in advance, and forecasted a ~$7,500 price bottom for BTC.

To put a cherry on the cryptocurrency cake, Crypto Thies observed that when Bitcoin bottomed at $7,300, it bounced decisively off the 0.618 Fibonacci Retracement of the move from $3,000 to $14,000, which correlates with the two-week volume-weighted moving average. He added that summer 2019’s consolidation was marked by Bitcoin flipping major resistances into support levels, implying that a bullish reversal and subsequent continuation is likely possible in the coming weeks.

As soon as $BTC bounced off of the .618, many should have started hoarding #bitcoin like it was …well, Bitcoin.$BTC Bears beware…you may not want to short this next 'attempted' pump

As price sits at $9.4k as of this post, my notes below highlight what to expect in Nov/Dec pic.twitter.com/XfBE6Kf0Yz

— CryptoThies (@KingThies) November 6, 2019

Featured Image from Shutterstock

The post Will Bitcoin Retrace to Low-$7,000s? Price Fractal Says So appeared first on NewsBTC.

from CryptoCracken SMFeed https://ift.tt/2Q3Nh0V via IFTTT

[acehotel]

INTERVIEW: Justin Strauss with Trevor Jackson

Trevor Jackson makes culture via the roads that passion takes. He has dedicated his life to what he loves — design, sound production and art. But above all, Jackson has given his life to music and the culture that not only surrounds it but is borne out of it. It is the lifeblood of the streets, the zeitgeist of eras and cities. Lifelong Ace friend and New York music producer Justin Strauss had the chance to sit down with Jackson for another Just/Talk session and delve deep into what makes up a life of cultural creation.

Justin Strauss: I first became aware of you in 1988 when I heard an Underdog remix of Money Mark’s Maybe I'm Dead. How did you get into making records and Underdog? Were you a DJ?

Trevor Jackson: That Money Mark mix was well into my remix career; I DJ’d, but I was just a local party DJ, and did a few regular club nights but very small things. I didn’t take it super seriously until the Playgroup album came out in 2001. The label wanted me to play live. I didn’t have a live show so I had to up my DJ game.

JS: As a kid, what were you listening to?

TJ: I grew up in northwest London in a place called Edgware, a predominantly Jewish suburb. Was lucky to have a mix of friends from all different backgrounds and started going out to clubs when I was 14. My older friends would drag me into some amazing clubs. I was going to New Wave clubs, very different to the kind of places my older brother and his friends were going to, they were all part of a predominantly Jewish scene at the time called the “Becks.” it was almost preppy, pre casuals. Gangs of kids would hang out at the local train station listening to Jazz Funk & Disco, driving Golf GTI’s and Convertible BMW’s wearing Kicker boots and Fiorucci jeans. It was a very British youth subculture that no one really talks about.

A group of teenagers outside the Carmelli Bagel Bakery in Golders Green in 1990. Photo by John Nathan.

JS: This is in what year?

TJ: This is the late 70s early 80s. All those kids were listening to Luther Vandross and George Benson...mainly soul, funk & disco. One half of me was listening to all this new crazy electronic pop & club music, and then the other half was listening to Earth, Wind & Fire, Level 42. Then I started working at a record shop.

JS: In Edgware?

TJ: Around the corner from where I lived, yeah. It was mainly chart music but working there we could order in any stock we wanted. When electro started to take off, that was really interesting to me because it merged the funk that I was listening to with the more electronic stuff too.

JS: What records would came into the store that really influenced you?

TJ: The UK street sounds electro compilations were very important to me and I was totally obsessed with Arthur Baker. Every single record that had Arthur’s name on it I bought religiously.

JS: You mean Planet Rock?

TJ: Planet Rock, Looking for the Perfect Beat...

JS: Breaker’s Revenge...

TJ: Everything he did. Tim Westwood was on the radio on LWR (London Weekend Radio). He played Hip Hop & Electro and I’d also listen to Colin Faver — he used to play loads of Kiss FM master mix tapes from New York as well as play at one of the first nightclubs I regularly went to, the Camden Palace. It was a super exciting time, although I didn’t have the slightest idea how to make music yet, things like the Art of Noise and Malcolm McLaren, Buffalo Gals, Run DMC and particularly that first Fats Comet with DJ Cheese record really had an impact on me because the beats were quite simple. I slowly realized I could do something like that myself with minimal equipment. I wasn’t really a musician, wasn’t interested in traditional song structures, melody and hooks, it was mainly noise that excited me. I bought this Commodore 64 sampling unit I could put on the side of my computer, it could only sample a couple of seconds but learned from that, how to do a lot with very little, and one of the first things I ever made was kind of an On-U Sound track using my computer and a four track portastudio.

JS: You just started recording?

TJ: Just started recording. Made it up as I went along. Then after a year or so bought myself a Roland W30 sampling keyboard, far more sophisticated than my computer, it could sample 12 seconds at lowest bandwidth I think, and has a built-in sequencer. Then I met this rap crew, the Brotherhood, a local rap trio. They lived locally and I started working with them. That’s how I got into production.

JS: You just learned as you went along.

TJ: Yes, no one taught me anything. I just learned listening to other people's records. I started a label called Bite It! to release the Brotherhood tracks we’d worked on. The label started to get recognized by the right people and I started to work with other UK Hip Hop artists. 

The Brotherhood, circa 1996.

JS: How many releases did you do?

TJ: Ten or twelve? The artwork was really important to me. I was sampling really weird European Jazz Rock. My whole thing was never to sample anything American, no obvious tracks that everyone else used, James Brown, Zapp, Parliament Funk etc, I sampled mainly European music, sometimes Japanese, Russian, anything that no one else was using at the time, I wanted the sleeves to look nothing like other Rap records at the time which were mainly full of generic Hip Hop clichés. I was inspired by ECM and CTI record covers and developed a minimal black and white photographic identity with a great photographer friend, Donald Christie. The label began to grow and on the back of my Brotherhood productions. Richard Russell at XL Recordings (who used to work with me at the same record shop in Edgware) asked me to do a House of Pain remix. 

JS: That was your first remix?

TJ: Maybe my second.

JS: For “Jump Around?”

TJ: No, “Top of the Morning to You.” After “Jump Around,” they wanted to quickly release another single, but they didn't have another track that could be a hit in the UK. I heard that track and said, "Let me do something." My remix went top ten in Europe. From that, I started getting remix offers, and that's how my music career took off.

JS: Did you go to school for art?

TJ: Yeah, music was always a hobby.

JS: So you thought art was where you were going to end up?

TJ: Design mainly, anything creative. I was hugely into comic books, desperately wanted to be a comic book artist. But when I started seeing designers like Javier Mariscal & Philippe Starck, taking playful graphic comic book aesthetics and applying them to various different areas of design — that really inspired me. I developed a way to take my underground comic book, cartoon and early video game influences into a mainstream context, mainly through record sleeve design.

JS: Was that before you started making records?

TJ: Yeah, I kept those things quite separate at the time. I left college when I was 18 and started working for a small design firm creating film posters. I took on my own freelance projects and then I started working by myself. I had a design studio in Clerkenwell not far from here in the late 80s. I’ve always worked in East London since the late 80s.

JS: How did you get approached to do those record covers?

TJ: I was in my teens around that time. Acid House was just breaking out. I was full of confidence at the time, young and super enthusiastic. The first record sleeve I ever did was for Mark Moore for S'Express. I used to regularly go to this club called the Wag where he was DJing. Somehow heard he had a record coming out and hassled him to see my work. You must have gone to the Wag Club back in the day?

The Wag Club in London, 1984. Photo by Derrick Rodgers

The Wag Club, 1982. Photo by Jane Goodman.

The Wag Club, 1982

JS: Once I think.

TJ: Was a great place! So I took my college portfolio to the club with me one night, showed it to Mark, he really liked what he saw and asked me to do a sleeve for his next single. That was the Theme From S'Express, which ended up being a number one record. Around the same time, so many great records were coming out, lots of people in the same scene as me, either Dj’ing or just listening and dancing — London nightlife was full of creativity. I started contacting other labels and asked to show them my work. Champion, was one of the first I went to see.

JS: They were putting out a lot of US releases.

TJ: Yeah, they were based next to a record importer and just picked up every great new US release before anyone else knew they existed. The guy who ran the label, and still does was Mel Medalia, was a real character, bit of a hustler, real old school, but he really took me under his wing. I remember going in and saying, “Look, I really love this music. The sleeves you’re doing right now are really shit. I’ll do it for free. If you like what i do, then give me some work afterwards.” I loved these records: Todd Terry, Frankie Bones, Raze, Pal Joey, I would have done them for free anyway, getting paid was a bonus.

JS: The art and music always went hand-in-hand. Basically you were doing both at the same time?

TJ: Yeah, but music was a hobby. Music was fun. I was working at the record shop on Sundays. I was still going out clubbing and buying and listening to loads of music, but my main focus and passion was in designing.

Trevor Jackson digging for gold

JS: I was buying records in New York. A lot of London people were interested in New York. I was always interested in what was going on here in London. So I’m buying in New York and getting all the New York stuff, but I’m also getting records from the UK, UK remixes of New York stuff done by you, done by CJ Mackintosh, Dave Dorrell, and listening to their take on things, which inspired me. It’s quite interesting. I know you’ve always had this fascination with the New York scene and what was happening in Hip Hop, what was happening in graffiti, what was happening in the clubs. I always felt this great connection here, when I started hearing your stuff, and I began to get familiar with Dave Dorrell and CJ. They did amazing work.

TJ: They were very important to me. Certainly an influence. I started making music some time after them... I actually designed De La Soul covers for Gee Street Records, remixed by CJ & Dave Dorrell, which started around the corner from me in Clerkenwell, ran by John Baker.  I don’t know if you know John?

JS: Of course.

TJ: They became my second biggest client and I created loads of things for them and the Stereo MCs. That was really inspiring because Gee Street were local to my office and Nick and Rob from the Stereo MCs were always making music downstairs. They did lots of brilliant remixes as Ultimatum and I learned so much stuff from hanging out and watching them, learned how to make music with minimal equipment, they could do so much with just a digital delay used as an early sampler and an 808, they were fantastic DJs also. Gee Street was a creative hub, Jungle Brothers would come pass by, upstairs (Jon’s wife at the time) Ziggy Golding ran a photographic and model agency called Z, they looked after my friend Donald Christie as well as Juergen Teller when he first started, the whole music, club art and fashion crossover thing in London was so powerful at the time, very, very important.

JS: There was this thing in New York, the New Music Seminar back in the day. All the UK DJ's would come to New York. We'd get to hang out. Back then, DJ's weren't traveling, you weren't flying all over the world. It was maybe once or twice a year you'd get to meet these people.

TJ: This was before starting my Bite It! label, I didn’t want to confuse people either, now everyone does everything. Back then, being a graphic designer and a producer, music maker, DJ was pretty much unheard of. I’d still DJ infrequently, but never travel outside of London at that time. DJs had their residences, and they just played in their regular local club. That was it. They wouldn’t leave to go to another club, would they? They’d build their own audience, their own scene, their own sound.

JS: Until Mark Kamins went to Japan. He came here to the UK to play at the Hacienda a couple of times. He was one of the first, if not the first to travel.

TJ: You know, Mark's the first DJ I ever heard play in New York! It was the first time I had ever been to the city.

JS: I want to ask you about that. You're making these records, you're remixing, you're doing artwork. When did you decide that you wanted to do your own music?

TJ: I did a competition, Street Sounds. That was the same Street Sounds who made the UK electro compilations, they held a competition to make your own own Hip Hop track.

JS: You were making good money doing that at the time?

TJ: It wasn't bad. But the thing is I was lucky I could design record sleeves for nothing when I started. I was living at home with my parents. I didn't move out until I was 21.

JS: Were you designing on a computer back then? 

TJ: No. I couldn’t afford a computer. When the first Apple Mac came out, it was totally unaffordable. A lot of the early sleeves I created with very basic graphics. I was really into the Sinclair Spectrum, Atrai 2600, Commodore 64 — very, very low resolution. A lot of the bigger companies bought these things called Quantel Paintboxes, which were incredibly expensive, compositing machines. I didn’t have the money, so used to do this really basic raw simple stuff totally by hand as a reaction against big design companies ran by old men with lots of money and zero imagination. I remember a few years later I did the sleeve for PM Dawns “Set Adrift on Memory Bliss” single, I spent a couple of days working on a hugely expensive digital compositing machine, something I could probably do now in half an hour on Photoshop. That cost a fortune. Was so difficult to do at the time.

PM Dawn, Set Adrift on Memory Bliss

JS: Then that's all happening. You started to DJ, you're getting DJ gigs.

TJ: No, no, I didn't at all. I'm designing record covers. I've got my little label on the side; the remixing started to take off. At that time, I was taking on more design work I didn't like for the money. I think at that time I'd moved out of my parents’ place, had a mortgage, needed to pay the pills.

JS: Where, Edgware?

TJ: No, got out of there as quick as I could! I was living in Kilburn, which is half way into the West End. I needed to earn a living, so started taking on work I didn’t really enjoy. Like I said, I was working for Champion, Gee Street. I was also working for Network & Kool Kat Records in Birmingham, which were revolutionary. They were releasing early Carl Craig, Derrick May, Juan Atkins; it totally inspired a new wave of young British electronic music makers, the early Bleep sound of Warp Records. But then I started working for a company called Pulse 8, I was fairly well paid but the guys who ran the company were awful and didn’t really care about the music, it was all about the money. Mel at Champion certainly knew how to earn a good living, but he also knew a hell of a lot about music, and had a team of great staff around him; Paul Oakenfold worked there for a while, they continually released great records. I got more and more disillusioned working for Pulse 8 but luckily my music career started to pick up. Not DJing though, I wasn’t even thinking about DJing professionally whatsoever. The design work was becoming more and more of a day to day job, the music was far more enjoyable. Then I slowly started putting an end to the design work and just carried on doing the music.

JS: You didn't really start DJing until the Playgroup?

TJ: We're still mid-90s, early to mid-90s. 

JS: Doing remixes?

TJ: Doing remixes, as Underdog. That starts taking off, then my manager, Marts — one of my best friends and a very important person in my life, someone who guided me through so much of the industry bullshit — suddenly died. He had a brain hemorrhage and just dropped dead one day. That stopped me from doing anything for a while. This was 94, maybe 95, I didn’t do anything for a year afterward I think. It was a very strange time. You feel totally indestructible in your early 20s. Then something like that happens, it completely changes your perspective on life, threw me completely.

JS: Mo'Wax records, did you work with them? 

TJ: Yeah, Mo'Wax was early 90s. James Lavelle was working at Honest Jon’s records, he actually introduced me to my manager Marts in the shop, it was the closest record store to me when I lived in Kilburn. James used to sell me loads of great records, I had a very good relationship with him. I used to sell him my Bite It! releases which he loved. The shop had an incredible selection of used records, so much crazy shit I used to buy for just sampling. James learned a lot from there, and his Mo Wax label started via Honest Jons. We remained close friends and I did various remixes for him, for Unkle as well as DJ Krush & Money Mark.

Honest Jon’s, London.

JS: Did you do any artwork for them?

TJ: No, I didn't. It was always a musical thing.

JS: That label made stuff that just made you want to collect it. You wanted to have it — it was gorgeous.

TJ: James was the first person to really tap into that whole Japanese collector market. He was super smart.

JS: Different formats, different sizes.

TJ: The whole thing. A lot of people give James a lot of stick, but for me, regardless of his issues, I’ll never lose respect for him. What was interesting about the whole Mo Wax thing was I grew up listening to eclectic diverse forms of music. I’d go to clubs and hear Electronic Pop, Goth, Punk, Afrobeat, New Wave, Hip hop, Electro, literally everything together. But when Acid House and then Progressive House became huge, things became very generic and drug driven, I lost interest in most club music, hated it. Things became musically so narrow I thought a lot of it was the most boring music I’d ever heard.

Growing up experiencing illegal warehouse parties and unconventional underground clubs, with mixed audiences and DJ’s without boundaries, when nightlife started becoming an industry, things changed radically. There weren’t that many great clubs anymore. There were a few key ones, but things weren’t as eclectic — you’d go to a club and hear one form of music all night at a similar tempo. James with Mo Wax and the club he ran Dusted in Hoxton Square brought back dance floor diversity, and in the process it united many different scenes together. I’ll always respect him for that, so many important artists came from that scene.

JS: It was the same in New York, when I started at Mudd Club. We didn't know anything. We knew what we liked; we played what we liked. We didn't think about what genre it was. It was just all good music. In 1979, 1980, we had Hip Hop being born. We had left-field disco stuff coming out. We had punk. It was just so many great records, so much great music. We just played it. As you say, as time went on, people just got more narrow-minded.

TJ: James really broke the mold. Dusted was fantastic, I loved playing there. In my early days going to clubs, I was much younger than everyone else. I didn’t actively feel part of what was going on. I was passionate about everything, but never felt included. Then when Mo'Wax started, I felt proud to be part of something very special, music, design, fashion, art were all integrated.

JS: What about when you heard DJ Shadow’s Endtroducing? Did that have an affect on you at all?

TJ: Not really. To be honest, I was doing a very similar thing musically to Josh. We used very similar equipment, sampled similar records. To this day, I still regret spending so much time doing remixes. I was so busy working on other people’s music, I did hundreds of tracks for other people, never really focused on my own career. I was very happy being the Underdog lurking in the shadows. My idea for a long while was for no one to know who I was, I didn’t want to be recognized, was happy having little media attention, something I’d still kind of prefer. In retrospect, I shot myself in the foot because I could have spent all that time and creative energy concentrating on my own project, my own solo album project with vocalists etc. When I heard Endtroducing, I thought it was great, but didn’t hear it as being as revolutionary as so many others did, there were other Mo’Wax artists equally as innovative at the time. The only album of that period that genuinely blew me away and reinforced my regrets concentrating on remixes was Portishead's first album.

JS:  How did you decide that it was time to do your own project? 

TJ: That was much later. In the late 90s, I was growing bored of doing what I was doing and felt uninspired by other things I was hearing at the time, so I went back to the early records I first started sampling, Jazz Rock, New Wave, Industrial, Avant Garde electronics, underground outsider music, things I began to listen to properly not just looking for breaks. Through sampling, I discovered probably 3/4 of the music I love now.

I decided at that point that I was sick of Hip Hop as well. I loved it in the 80s through early 90s. I think around 94, 95, I started getting a bit tired of it.

JS: What was coming out then? 

TJ: When did Nas’ Illmatic come out? That was probably 93, 94? That was THE album for me, still is, but shortly after West Coast Hip Hop Gangster Rap took hold of people, lyrically and morally questionable material that others seemed to love, I didn’t want to listen to it. More of the rappers I was working with were getting aggressive and violent too, the whole scene was getting nasty in many ways. London was a very weird place to make Hip Hop. It just wasn’t successful at all. Drum and Bass hadn’t blown up yet, and everybody was fighting over nothing, trying to earn a bit of money. Beef between different crews. It was stressful. I wanted out of Hip Hop. That’s why I decided to start a label, just putting out weirdo records, mad shit that no one else would potentially like, apart from me. 

I wanted out of Hip Hop. That's why I decided that I want to start a label, just putting out weirdo fucking records, mad shit that no one else would like apart from me. I started the label with some outtake stuff, Underdog stuff, that basically didn't have vocals on it with things I messed around with.

JS: This is the beginning of Output?

TJ: Yeah.

JS: What was the first record that really established the label, that people were really paying attention to?

TJ: Probably a release by Kieran Hebden’s band Fridge — Anglepoised. It was a 12 inch release, they were so productive but worked at home in a tiny bedroom after school. A band with guitars, live drums and electronics. I had so much confidence in the band that I soon hired them a studio near Old Street. They spent everyday in it. 

JS: You put all your own money into this?

TJ: Yeah, yeah, I got the studio, money for some bits of gear. Lent them my 808 one time and they made a truly beautiful record with it. Anglepoised, still one of my favorite Output releases. It ended up being played  by a really diverse group of people, from Dj Harvey through to Gilles Peterson and John Peel. Was very satisfying.

Trevor Jackson DJing in 2013

JS: Okay. You know you're running a label. You're an A&R guy.

TJ: Yeah, kind of. 

JS: You decided you want to do Playgroup, or how did that happen?

TJ: Okay, I was producing a live band called the Emperor’s New Clothes signed to Acid Jazz. A real mix of musical styles: Dub, Jazz and Post Rock. We worked for a solid year on the album, I recorded everything live then resampled every track in my mono S950 and put the tracks back together again! Insane amount of work, nearly killed me the amount of effort I put into doing it. But when it was finally all finished the label refused to pay me, I was furious so told them I’d keep the masters until I received payment. They bloody never paid me so sadly the albums still never seen the light of day! They eventually broke up and the drummer and bass player, Luke and Leo, formed a new band called Gramme. I produced them too and helped them put their initial stuff together. It was very inspired by ESG, Liquid Liquid, Public Image Ltd, music I first introduced them to when we were recording the Emperor’s New Clothes album. I ended up putting the Gramme record out on Output, got on so well with Luke, asked him to play bass on demos I was writing at the time and they eventually ended up developing into Playgroup. Underground club music at the time was either dark, complex and overly serious, or cheesy diva led piano or boring as fuck progressive driven house, very male with little sensuality or sense of fun.

JS: I was totally bored.

TJ: So was I!. I realized I wanted to make a fun sexy dance record, with strong female personalities, taking influences of the best parts of the 80s, all genres, the foundations of club music, which, at that time in the late 90s, very few people actually cared anything about. Output shared an office with Nuphonic records for a while, their strong interest in that period was — especially Arthur Russell — the Loft and Larry Levan...it certainly influenced my direction too.

JS: Which was also not very different coming from you, whose music at the time was always on the darker end of the spectrum.

TJ: Yeah, I was making dark music, and a lot of it was fucking depressing. But I’d taken it as far as I could,  I needed to make some fun music. If I did an interview and mentioned Soft Cell or The Human League, people laughed at you. People had no idea. The media especially would not take any of those artists, even Human League, seriously at all.

JS: When did you first come to New York?

TJ: The year of Do the Right Thing, which was in 89 was it?

JS: Yes

TJ: The first club I ever went to in New York was Mars. I vividly remember hearing Mark Kamins playing Summer Madness by KC Flight when I walked in. Upstairs on the roof, they were hosting a De La Soul Three Feet High and Rising launch party. Was some night, magical for this young guy from London who’d dreamt of going to NYC his entire life. I vividly remember going to the Pyramid too.

JS: It's the only club that's still actually there.

TJ: Mars was three floors or something, right?

JS: It was in the Meatpacking district. Nothing was there then. Florent and that.

TJ: Florent was a great spot to hang out and eat late. At the Pyramid, I’ll never forget, a crazy naked dancer on stage or a table right next to me with a huge dick squeezing breast milk out of his tits, was an insane place!

JS: It's amazing to me that that time when there was so many clubs. Every club was packed. No promoters, no nothing. It's just an amazing time of people going out and just great music. 

TJ: Yeah, so many places, I was there for a week and I think I went to MK, Nell’s, Mars, Palladium. The Tunnel, many more I can’t remember.

JS: How old were you?

TJ: 21 or something.

JS: You were already involved in music. 

TJ: Yeah, design wise anyway, but was connected. I remember hanging out with this guy called Boots, a friend of John Baker from Gee Street, he used to manage some bands. I remember going to a roof party he took me to and seeing the singer from Set the Tone, one of my favorite bands from the 80’s play a solo gig of some sort, it was wild.

JS: They were on Island.

TJ: They were on Island, killer band, recorded with Francois K at Compass Point. I was only in New York for a week and did so much shit. I remember going to some fucking loft art party on Broadway. Where the fuck am I? It was like being in Scorsese’s After Hours. It was like that every night.

JS: Was this the period when you were doing the Underdog stuff? 

TJ: No, this was pre. This is 89. I didn’t do Underdog stuff until 91, 92. I wasn’t making music. I was just loving music. I was only designing record sleeves. Think the main reason I went to NYC was to go shopping. Records at Vinylmania, Downtown Records was it? Canal Street buying sneakers and fake Rolexes, tracksuits, goose down jackets, name belts. There's a photo of me somewhere sitting on my hotel bed with 50 pairs of new sneakers around me, I’ll have to try and find it.

JS: You just filled suitcases?

TJ: Yeah, I went to New York with an empty suitcase and brought so much shit back. I remember getting out of the taxi coming home to my parents wearing a shiny white Troop tracksuit like the one on the Stetsasonic album cover. I was mental. 

JS: New York lived up to your wildest dreams pretty much?

TJ: It’s like you were saying about London. For me it was a dream come true, so much of the culture I loved was born in NYC, it was incredible. I mainly went to NYC to listen and to firsthand experience Hip Hop culture in its birthplace. But when I went to Mars, I was enlightened. Mark Kamins was playing Arabic music with Acid. It was weird to hear anyone outside of London playing Acid House, I thought it was just a London/Chicago thing.

JS: We got the Chicago Acid, then the UK really fell in love with it and brought it back to New York.

TJ: I'm trying to think what they were playing at the Pyramid.

JS: My friend Ivan Ivan would spin there. He ended up doing “Dominatrix Sleeps Tonight” and the band Book of Love. They basically came out of the Pyramid. There was so much happening. It was such a great creative time.

Did you come back often or was it a while before you came back again?

TJ: I think it was probably a while before I came back. It was expensive; I couldn't afford it.

JS: It wasn't cheap airline flights. This is pre-internet.

TJ: Yeah, pre-internet, exactly. For me, all the things I wanted: records, comic books, toys and clothes, New York was like wow. You couldn't get any of that shit in London then.

JS: Musically, we're at Playgroup. You're starting Playgroup; you're starting Output. What was the first Playgroup?

TJ: “Make It Happen.” It was very frustrating at the time because I put so much into Output and its artists, it stopped me doing my own things, I was starting to resent it.

JS: Then you started DJing then?

TJ: No, not yet, I made the Playgroup album first.

JS: I'm surprised to hear you weren't DJing until after that. 

TJ: I didn’t really want it. I loved DJing for fun, but I was more into making music and doing other things. And also, DJ culture at the time (in the UK anyway), wasn’t something I wanted to be part of. It was all about the Big Beat sound and Fatboy Slim, very white and stupid. The times I did play, I’d either throw my own party locally with Output artists and other affiliated DJs or play weird post-punk and no wave records for someone else and clear the dance floor! No one really wanted to hear that stuff. No one was really interested in the records I played. 

JS: When did that change?

TJ: After the Playgroup when Stephan from K7 asked me to do DJ Kicks.

JS: Wow, that was a very influential CD. It's history now to think how important those mix CDs were at that time. DJ Kicks — there were a million of them.

TJ: When they asked me to do DJ Kicks, I was so proud to do it. It was a life changing event for me, one of the best things I did for my whole career.

JS: That was amazing. I remember going into a Virgin mega store in the city and getting it. There was the vinyl. You did a cover version of “Behind the Wheel” which was one of my favorite Depeche Mode 12 inch’s that Shep Pettibone remixed.

TJ: When you listen to my selection now, it's not unusual in any way; if anything, it’s standard. But at the time, using that range of artists and tracks, trying to join the dots between the old and new, was very fresh. Truth is we actually tried to license Shep’s remix of “Behind the Wheel” for the album, but Depeche Mode or Mute wouldn’t let me use it. I was so pissed off, I was like, “fuck you. I’ll do my own version."

JS: I didn't know that.

TJ: Off the back of the Mix CD, I started getting serious DJ offers. Something I didn’t want to do initially, I would rather have been known as a producer or musician, designer, video maker, etc, than playing records.

JS: Were you asked to travel as a DJ? Come to New York, come to Europe, all over?

TJ: Yeah.

JS: A lot of people respect you as a DJ. I've been talking to people and say, "Oh, I'm going to be interviewing Trevor." Like Joe Goddard, he used to come listen to you. You inspired him. You're good at it.

TJ: That's lovely to hear. When I first started DJing, I was very happy doing it. I’d just play weird records for an hour and a half, two hours before a band, could play what I want, I felt comfortable doing that. But when I got pushed into playing clubs and making people dance, that was a very different agenda. It became easier when Output started to release more club orientated material, as I had so much great stuff on the label I could play — DK7, MU, etc. I didn’t ever want to be part of anyone else’s scene, and I was wrongly affiliated to the Electroclash movement although what I was trying to do was very different. 

Independence and individuality is very important to me, I’d like to think Output had its own identity even though its releases were fairly undefinable and diverse. From the ashes of the Electroclash movement very special dance records did start to appear, and I eventually began enjoying DJing to audiences who wanted to hear more exciting left field dance music.

JS: I remember the first time I met you you were DJing at PS1 Warm Up. I wanted to meet you. I had gotten into DJ Kicks. I was like, "Hi, Trevor, I'm Justin." You're like, "I have a load of your records.” I was so happy because I was disillusioned with a lot of shit and was just starting to get re-inspired. To hear that from someone like you, who I was being inspired by, was nice. It was the beginning of something again for me.

DJ Kicks, Playgroup.

TJ: It felt like an honor to meet you, a real NYC legend! I remember that PS1 so well, what a fantastic event it was — 2003? Madlib and Peanut Butter Wolf played as well.

JS: So The Playgroup comes out; it's a big hit?

TJ: No, it's not a hit at all. It wasn't a hit.

JS: No? It's not a hit in clubs, in culture?

TJ: It worked in the areas I knew it’d work in. I knew the press would get it, because most journalists were older and would understand the references. I knew the tastemakers would get it too, other people interested in the same inspirations. But it didn’t sound like anything else at the time. That was a big problem, it was really important to me to make a record that sounded different. It was an underground record but with pop sensibilities, a party record not a club record, I think it confused people and the retro references especially put Radio One and the mainstream media off it, they thought it wasn’t relevant. The fact I didn’t want to but realistically wasn’t capable of playing it live didn’t help. It was a critical success when first released but a financial failure. The record cost a fortune, they put so much money into it, but the minute commercial radio stations rejected it, the label lost total interest. I was taken to the Mercury Music Prize awards by the head of Universal Publishers and told, when the winner was announced, “that will be you up there next year” and the second Radio One didn’t pick up on it they never spoke to me again. I learnt so much from the whole situation.

JS: Who put it out?

TJ: Source via Virgin Records, ran by a guy who originally signed AIR, I was one of the first people he signed, a trophy signing to establish the label. I knew I might never make another album again so decided to spent most the advance on working with the best people, in the best possible studios I could find, try to learn somethings along the way. I ended up working mostly at Olympic studios with Spike Stent who mixed Madonna, Massive Attack and Bjork, learned so much, it was an incredible, very expensive, once in a lifetime experience.

JS: It sounded amazing.

TJ: Thank you. For me, I was never happy with the sound, to be honest. The mastering wasn’t right. But anyway, I worked in that studio for six weeks virtually every day. 

JS: Was there a live Playgroup show?

TJ: I did one show when I did an Output party showcasing LCD Soundsystem live in London. Did a live version of Make It Happen for half an hour, that was it. I did actually get a full band together to try and tour, with Edwyn Collins on guitar, Ted Milton from Blur on saxophone, Leo Taylor on drums, Lascelles from 7 Hurtz on percussion, Luke Hannam on bass. We rehearsed, it sounded great, but I found it impossible to recreate the sound of the album, something that was fundamental to me, and it wasn’t possible for the guest vocalists to perform so it never happened again.

JS: When the album came out and didn't do as well as you maybe would have liked, were you disillusioned?

TJ: I wasn’t disillusioned because whenever I do anything, I push things to an insane point of personal perfection. All that matters to me is knowing I couldn’t achieve any better. At that point anyone could say it was shit, and I really wouldn’t care, I trust my own critical judgement enough and always do things to foremost please myself never anyone else. If it’s flawless in my head, any external criticism or failure is irrelevant. I was disappointed with the record company, not myself. 80% of the failure was their fault. I made a great record they didn’t know how to sell or market it properly.

JS: You reissued it again. 

TJ: Yeah, exactly, via Output a few years later when I negotiated my master rights back.

James Murphy, LCD Soundsystem.

JS: How did you meet James Murphy?

TJ: I knew Tim anyway from Mo'Wax days. Tim had moved to New York and set up DFA with James. I went to NYC to record tracks for the Playgroup album with Shinehead and Kathleen Hanna. I met us with Tim while I was over there and met James through Tim. 

JS: Had they already been putting out stuff?

TJ: No, they’d put out nothing. They had this huge building and studio in Manhattan but hadn’t released anything yet. The Rapture release they weren’t entirely sure what to do with. They played some tracks to me, and it sounded exactly like the kind of thing that should be on Output. They didn’t have any experience of releasing records out and knew having someone based in London who knew all the right people internationally and could get their music out via the right sources would be a huge asset, so they asked if I could help. I thought it was an amazing record and happily agreed to promote and release worldwide, excluding the US and Japan where they already had their own connections. To be honest, initially people took notice of The Rapture in the UK because of Morgan Geist’s remix, they weren’t really interested in the original version at first, the live elements of the original put some DJs off playing it, but after a while things shifted and the track really started to blow up.

JS: Did you commission that mix?

TJn: No, no, they did that themselves. They were friends with Morgan.

JS: We're talking about “House of Jealous Lovers?”

TJ: Yeah, “House of Jealous Lovers.” I think it was the first DFA release. The Juan MacLean was next I think. “Losing My Edge” came next. “Losing My Edge” just went crazy. 

JS: When you heard that for the first time, did you feel this is...

TJ: No, not at all, and I actually preferred “Beat Connection” at first. You have to remember I already had other successful artists on the label, critically and creatively, they were another of those artists to me, never THE artist. It was a great record, but I had no idea the impact it would have. LCD and The Rapture became part of the Output Family — many people thought of them as Output artists more than DFA ones.

David Cunningham and Deborah Evans-Strickland from The Flying Lizards

JS: Can you imagine that they probably, as of right now, they probably would be biggest band in America?

TJ: Never in a million years.

JS: Did you release the first albums?

TJ: Only The Rapture Echoes album on vinyl which was given to Output to release as a goodwill gesture after they signed to a major label, and that label had no independent vinyl store distribution network.

JS: Did you do contracts with your artists? 

TJ: No, no contracts, wanted to try keep things mutually respectful. We rarely made money on anything. We just about broke even, ran things on a shoestring, put everything back into the label. It was just me and a label manager running things, that was it. But we always spent money on good packaging, marketing and press. The label was never set up as a proper business, I earned my income from design work, never drew a wage from the company and as long as we didn’t lose too much was happy to keep things going on a purely creative basis. I always told the bands, “I can’t promise you’re going to make any money, but I can assure you via Output you’ll get attention, that’s the best I can give you.” If this is just about money to you, please go elsewhere. Perhaps that was stupid and naive, but it made good sense to me not to give people any false expectations and promise anything we couldn’t deliver.

JS: How many 12” records would you sell of LCD or The Rapture at the time?

TJ: A few thousand maybe. I can’t remember exactly and they were exporting records from the US as well. Enough to break even.

We fell out very badly after LCD and the Rapture signed huge deals and Output got very little back. Fundamentally, I’d taken DFA and I hooked them up with every single important person I knew in the industry worldwide, DJs, promoters, festivals,lLabels, press, PR, etc. Then The Rapture signed to Mercury and LCD to EMI. I felt betrayed and was bitter to the point of printing a full page advert in Vice at the time venting my frustration at the turn of events, but over time learned to live with it. I’m well over that now, water under the bridge, learned my lesson, and consider both James and Tim friends.

JS: You were disillusioned by the whole thing?

TJ: Disillusioned totally, the label starts getting bigger and the bigger it gets, it becomes more stressful, the artists start becoming divas, the more money it costs to run things, the more money I’m losing. It just was a lose/lose situation because most of the other successful independent labels at the time weren’t genuinely independent. They were all sub-labels of a major. They usually had one big act everything else lived on, we didn’t have that. I refused, implicitly, to be part of the major label network, tried a partnership with Source for six months and it didn’t work, so I refused to be part of any bigger corporation anymore, and wanted to do it completely independently.

JS: You had offers?

TJ: Yeah, I had offers. Everybody wanted to sign Four Tet. Everybody wanted to sign The Rapture. Everybody wanted to sign my acts. Other labels I thought were my friends were turning into sharks, people were going behind my back.

JS: When Four Tet left the label, you didn't feel you were being betrayed as you did with the DFA situation?

TJ: No, the Four Tet situation was different. I’ve always been friendly with Kieran, never fallen out with him. It was a different thing. There’s always been mutual respect and I’d like to think he appreciates all I did for him in his early career. He was honest with me about his concerns, we discussed it, I was fine. I was realistic about the capabilities of the label too when he spoke to me, it would've been unfair to hold him back in any way.

JS: The label was draining you, basically.

TJ: The label was draining me, not just financially, and at this point I’m like fuck it.

JS: This is pre-digital?

TJ: Yeah. I ran the label from 96 to 2006.

JS: People are still buying records then.

TJ: YouTube didn't start until when? 2004 or something? When that stuff started growing and illegal downloads became the norm, it just became so difficult. It became harder to sell records, we started losing too much money. The most stupid thing I ever did was try and bring in a business advisor, someone who promised to turn things around, but proceeded to fuck everything up whilst being very well paid for it. I was like, “forget this.” Then PRS and MCPS started coming and biting my heels, trying to get money from me we didn’t owe them, stopped us being able to manufacture records even though that was the only way we could make any money back to pay them! I’d become an A&R man for every other label in the world there yet wasn’t getting any financial return, I was naive and made mistakes. The whole thing was a total mess, was ruining my life, so decided enough was enough.

JS: I remember when Bryan Mette and I brought you to New York to play at Club Love. I think that marked the death of the Output label?

TJ: Yeah, I put together a final compilation called I Hate Music. Managed to get out as the hundredth release and just close the label. After that, I wanted nothing to do with the music industry or community ever again. In retrospect, it was a good time to get out, the digital age was emerging, big changes were happening, it was killing independent labels.  

JS: You got more back into your art?

TJ: Back into design and art projects, yes.

JS: Did you run it out of this place?

TJ: No, no, it was around the corner on Curtain Road. I’ll never forget the day the label ended, I had to tell my label manager who had worked so hard trying to pull things together we couldn’t go on anymore. The wankers at Pitchfork had just ran a story publishing a private email I’d sent to one of the artists about my personal reasons for closing the label against my will. I left the office, got home, opened the door, and found my 21 year old cat dying. It was all too much, everything became a bit of a blur after that.

JS: That was in 2004?

TJ: 2006. That was 10, 11 years ago. Then, I took time off, pulled myself together and went back to design work. I took it all very personally, the failure of the label was a hard thing to deal with, I’d let a lot of people down that relied on me, was an awful time.

JS: Would you DJ occasionally?

TJ: Not so much, I really couldn’t bear the thought of any contact with anyone music related, I felt so bitter about it all as well as embarrassed I’d fucked it all up. I turned down all gigs, remixes, everything, ended up hating everything related to the label for years — it’s literally only been the past few years I felt proud about anything I did during that period. I mainly concentrated on getting back into design work and, after some time, took on a few DJ gigs. 

But then, a few years later just when I’d started getting myself back on my feet, one of my best friends passed away. She’d been recently diagnosed with epilepsy; I didn’t have a permanent home at the time so I lived with her, helping to take care of her, she couldn’t be left alone at any time of the day in case she had a seizure, I had to accompany her all the time. One morning I woke up, her office called me to find out why she wasn’t at work, and I found her. I assumed she was sleeping in bed but discovered she’d passed away, it was the worst thing I’d ever experienced. Not only the shock of the event but also the guilt of supposed to being there for her, not only letting her down but also her family and friends, then being questioned by the police and being treated as a suspect as I was the only person in the house at the time. It was unbearable.

JS: Were you living with friends?

TJ: Yes, crashing with friends for a year afterwards, had no home of my own, the worst situation to be going through after what I’d been through.

JS: Brutal.

TJ: Brutal is the word. I had nothing. I went through a really cathartic process of just trying to cleanse my life and trying to work out the most important things in my life. When you go through shit like that, you just don’t want any negativity around you at all. I got rid of friends and associates that didn’t add anything positive to my life. Life is too short. I don’t put myself in situations I don’t feel comfortable with anymore. Before that I’d have much more patience. If I’m in the company of people I don’t like now, I just leave. Friends that I don’t get along with anymore, I don’t need them. I’m very lucky I’ve got enough good friends around me anyway, people I’ve known for 30 years or more that I love and respect. Also, it sounds like a cliché, but I got into healthy living, meditation and exercise were the only things that managed to pulled me out of a very dark place, it took a long time to get back into a good place.

JS: That opened a door for you to do more music.

TJ: Yeah, I found that it takes adverse situations to make me reassess things and create. I've now learned that however bad life gets, it's cyclical. When you hit rock bottom, there’s only one way to go, back up! 

JS: I was DJing at the biggest clubs in New York. I had two kids, and the dance music scene was like you said – very boring. I did a publishing deal with Warner Chapel. They were trying to hook me up with pop stuff. It didn't work out. They would always end up going back to the same two producers they use for everything, whoever it was. I didn't know what I was going to do. Me and my wife split up. I was totally depressed. I wanted to kill myself, but I had two kids. I did what I had to do. Then this all started coming back, like I said, being re-inspired again and meeting people who said, "Oh, you did all this. Why aren't you doing stuff?" I was like, “You're right. What the fuck am I doing? I'm good at this.” Made me want to get back into it, and really, it's all I can do. 

TJ: It's easy to forget your worth when you’re in the wrong place, when you get to that point, that low, you either end it all, right? Which is an option when you’re that bad, or pull yourself out of it.

JB: When you have two kids, you don't think about ending it all. I guess there are people that do.

TJ: Sadly, there are people that are so low that they can't get out of it.

JS: Yeah, thankfully, you got out of it.

TJ: We both did. I got out of it. The first project I did after that was an art show called Nowhere at a small gallery in Hoxton Square. I showed a series of abstract photographic works, abstract images of sunset skies, juxtaposed with personal images and manipulated images of the cosmos, some video work too. It was a cathartic experience and really helped to cleanse my past in a way, moving into a new creative arena. I also did a show at the Red Bull 12 Mail Gallery in Paris, large scale microscopic images of record vinyl grooves titled “Yesterday,” “Today,” “Tomorrow,” “Forever,” along with an accompanying limited edition vinyl release made up of samples from the images I was showing. This show cautiously renewed my interest in getting back into music again and I came up with the idea of the Metal Dance compilations. Felt like the right way to make people aware of me again, I’d worked with K7 many times before, trusted them and Strut was part of their network.

JS: A compilation of?

TJ: Late 70s, early 80s experimental electronic dance music. Which were mostly chosen for an old mix tape I found at my parents house one day in the attic.

JS: That got you back in?

TJ: Press-wise, media-wise and public-wise, they were like, “Trevor Jackson is still here!.” And it introduced me to a whole new audience too. I’ve mentioned it before, but I felt hesitant to put some tracks on Metal Dance that might be too obvious. But kids would come up to me, like 17 or 18, and talk about those specific tracks I was concerned about and go, “Fuck, I’ve never heard that before.” It’s great to feel that. A new generation of people making music inspired by stuff that inspired me.

JS: You were getting a lot of attention.

TJ: Enough, was great to feel proud of something again. Did a second volume of Metal Dance and then I started to think I should really start releasing some of my own music, something I hadn’t done since the Playgroup album and that 12 Mail Gallery release. That’s how Format came together. I started going through my archive, listening to tracks I’d never released, mainly demos and unfinished recordings. I’d never stopped making music since the Playgroup release, making music helped me get through the very worst of times, but I’d given up thinking of releasing any of it, overly cautious of putting myself back out into an industry I’d grown to despise and had also changed so dramatically. And that’s what I’ve been doing for the past 4–5 years, sorting that archive out, 100s of tracks that sounded rubbish to me at the time, things I’d overworked for so long, that now with time and objectivity have learnt to love again. It’s part of this huge cleansing process I’m going through, trying to move on to a new phase in life. It’s insane to think but I’ve now actually finished all of it, feels great.

Format, Trevor Jackson

JS: Wow! You released Format with The Vinyl Factory?

TJ: Yes. I did it with them because I knew that I wanted to try and release the project in a unique way — something that as a label they’re very interested in doing. I needed to satisfy my creative urges and in the process get the music — and most importantly my ideas — noticed, which in today's current climate is very difficult. Tragically, so many great things get ignored now regardless of its value or quality, things exist for such a short period of time, you need to do something special to be noticed.

JS: The idea was to release it as...

TJ: As 12 different physical formats.

JS: And not to release digital?

TJ: There was a USB stick, but initially no download or streaming. I wanted it all to be very democratic. Usually the press hears a release months before an album is released and with this, anyone could hear it at the same time but only by visiting the a/v show I’d created. There were no promos sent out at all, people had to make the effort to come and experience it. The album was presented on 12 huge screens. Each screen showed the process of playing each track via its own designated format on its own unique playback machine. The ritual of playing physical recorded mediums. So much of the magic is lost when all you need to do is simply press play on a screen to listen to something, right? I wanted to highlight not only the aesthetics, the intricate physical details of these machines, but also the tactile beauty of the actual process.

JS: It was a real coming together of the two things you love — your music and your art.

TJ: Exactly. I also did an amazing project a few years earlier at the London BFI IMAX titled RGBPM. Performed four pieces of music on a custom built video synth, one of the highlights of my career to date. The music was actually released this month as a vinyl only EP along with a series of signed prints on a small label called UTTER.

JS: So you had a whole exhibition for Format.

TJ: It was a large project. The only way you could come and hear the album initially was to come to the exhibition, and you could buy the separate formats at the exhibition and also online. Most of them sold out straight away. They were limited to various edition numbers: 500 12 inches, 400 10 inches, 300 7 inches, 200 cassettes etc. Also had a series of 10 box sets with an additional reel to reel tape format that was only available in that set.

JS: What was the most obscure format?

TJ: 8-track probably. They were a total pain in the arse to manufacture and find parts for, most of it was a logistical nightmare to manufacture. Format was the first large scale project I’d done for a long time, took well over six months to put together, was a hell of a lot of work, but definitely worth it. The main objective was to highlight the importance of physical music, something that had become far less important since I’d released my last album back in 2000. But also making it as inconvenient as possible to people, so it wasn’t easy to obtain or experience. I wanted people to make an effort, the more problematic something is to obtain, the more important it eventually becomes and the longer it will resonate with you.

JS: The music was recorded from what years?

TJ: Between the years 1999 to 2006, 20077. I was really hesitant and quite scared about letting this music out. So I tried to highlight the concept more, the music became secondary. A bit of a mistake in hindsight when I listen to it now, I realize the music was really good. I’m very proud of it... I’d lost a lot of confidence in what I was doing. Had total confidence in the concept, but wasn’t sure about my music-making ability anymore, it had been so long since I’d released anything and, after listening to the tracks so many times, had lost all perspective.

JS: Over the years, people would say when are we getting another Playgroup album? Now, here it is. Everyone was asking “What's Trevor Jackson got to say?”

TJ: Yeah, and that was a lot of pressure after all that time. But I'm really happy. It worked really, really well. 

JS: It was beautifully designed, and there are some great tracks.

TJ: Thank you. The thing is, there's more of it.

JS: You also did that Adrian Sherwood compilation.

TJ: Yeah, that was a real labour of love, On-U sound was my favorite label of all time. I would never of dreamt of doing that as teenager, dream come true.

JS: It's come full circle.

TJ: Full circle. I’m still such a fan.

JS: Did you work with him on it?

TJ: I did. I’m still in awe of the guy. It was really embarrassing. I couldn’t sit here and have a proper conversation with him like I am with you. Hold him in far too high esteem.

JS: Had you ever met him?

TJ: Yeah, I met him before, but I’m like a gibbering wreck when I meet him. He’s not intimidating; he’s a lovely guy. I had interviewed him before. Before I did an NTS show, I did this radio show called “Strongroom Alive.” I’d also interviewed Arthur Baker and Jah Wobble, then I did Adrian.

JS: When was the Trevor Horn interview?

TJ: That was recent. That was with NTS when I interviewed Adrian. What was interesting was that all the tracks I picked up, he didn’t like most of them, he was quite dismissive about them. Don’t think he realized how important they were. They were crazy throw-away experiments to him and, in his heart, he’s a pure reggae head. I think the records that were the most important to him at that time were the Roots/Reggae, more traditional things.

JS: Science Fiction Dance Hall Classics

TJ: Those crazier left field tracks have resonated with a younger generation, also with people that either didn’t realize the label released things like that, or totally forgot about them. The compilation was really well received.

JS: That's your role in all of this — you've always just done what you loved and exposed people to a lot of music that they might not have heard otherwise.

TJ: I strongly and somewhat arrogantly feel that if things are important to me, they should be important to other people. It’s passion more than anything, nothing to do with ego, I want as many other people to share that excitement with me, try to experience the way I feel about things. I can only work successfully on things I’m passionate about, I’m not driven by money or success, integrity is hugely important thing to me. Look at Richard Russell, who we spoke about earlier. Look at him now. Look at James Murphy, these people. They’ve gone on to have huge success. They're both highly ambitious people, whether they’re entirely happy with what they’re doing, I don’t know. You make sacrifices when you get to that level, things I probably wouldn’t be prepared to do. I’m happy in the shadows to a certain extent, I’ve been in the game actively for more than 30 years, still relevant in someway, hopefully, that's an achievement I’m very proud of.

JS: The pressure of James Murphy stopping LCD Soundsystem when they were very popular, going away for five years, saying that he’ll never do this again — many times he said it, and then came back.

TJ: I don’t know his reasons behind it, but sure he’s done it for the right reasons.

JS: They are such a great band. I don’t see any reason to stop it or not go back to it. People change their minds. I don’t fault him for that at all. They’re an amazing band.

TJ: As long as they're as good or better than they were before, that's all that matters.

JS: I mean, I'd seen them before they'd done any new music, when they just came back and just started playing.

TJ: Live, they're fucking unbelievable. Live, they're incredible.

JS: They're the best band out there; the best band I've seen live recently.

TJ: Live, they’re outstanding. It’s really odd when you see someone you know at that level of success onstage, this guy who’s just one of us, that level of adoration, something I’d never feel comfortable with, it’s just fucking weird because it’s still James, you know. It’s still the guy I know from 15, however long years, however long that was…

JS: You do a radio show on NTS every other two weeks? That’s been inspiring you these days?

TJ: Yeah, it’s like having a record label without any of the bullshit. The main reason I did the record label was just to get new music i was passionate about into the world. Now I can do the same thing without having to deal with any artists or managers, do exactly what I want. And apart from the cost of the records, it doesn’t cost me a penny, there are no risks or stresses, it’s an absolute pleasure.

JS: Now, you released a whole slew of 12 inches as Playgroup after the Format thing. You had this idea to do one release every couple of weeks?

TJ: After Format, I said to myself, “okay, I’ve got the rest of this music here and I desperately want to make brand new music. I’m doing this NTS show, all the new music out there is inspired, innovative. I need to be making forward thinking brand new music, but I’m having a real problem doing that until I finish all the old music out of my life.” It may have been stupid, but I set myself that task, to finish off that music, and now I’ve finally done it and need to release it all in an exciting way too. Last years Playgroup releases were the first part of that. Was difficult, I had 30 tracks and they’re all club tracks. They’ve got to be on vinyl but I couldn’t do a nine album box set, so came up with the crazy idea of releasing an EP a week for nine weeks. Everyone said to me, “You’re mad. Forget it.” But it worked really really well. Each sleeve fitted together to make a large image which added a physical collectability to the whole project.

JS: And you used the Bill Bernstein photos as cutups in the sleeves, which is genius.

Previously Unreleased, by Playgroup

TJ: Yeah love his work, was a big fan of his Night Dancing book. I wanted to tease people, no one knew what the large image was until you put all the sleeves together...an element of surprise.

JS: Have you ever thought of teaching?

TJ: Yeah, I'd love to teach.

JS: I think you'd be amazing at it.

TJ: Thank you. that’s one thing I would really, really love to do. I don’t have any kids. I’d like to try and contribute something positive to society.

JS: Has that opportunity ever come about?

TJ: No, I haven't been asked, but it's something I would want to do. 

JS: Now, what's next for Trevor Jackson?

TJ: Now? I've got five albums worth of material.

JS: New material?

TJ: No, more unreleased stuff that on one’s heard. 

JS: The Playgroup stuff? What’s this coming out as?

TJ: I don't know. I've literally just finished it. I'm just sitting there with 85 tracks wondering how on earth to get it out. I'm trying to think of an interesting way to do it. I can't release five albums at the same time. Maybe I can — I don't know. I haven't got an idea how to do it. I'm sitting here thinking. That's where I'm at now. 

There’ll definitely be a Playgroup Previously Unreleased volume II and possibly I’ll use some of the other aliases I’ve used over the years for the other ones. 

JS: I have confidence you will.

TJ: Glad you do! I want to get it all out this year.

JS: Then you will start the next phase.

TJ: Hopefully, I’m getting rid of all the excess weight in my life. This unreleased music is part of that. I want to start afresh. Been trying to do this since my friend passed away, six, seven years ago. I want to be able to sit in my studio and make music in a completely new way. At the moment, what’s really fantastic is people making music out there without any boundaries anymore, without any expectations or preconceptions. They can just do what the hell they want. I haven’t been able to do that for a while.

JS: Do you want to collaborate or you want to do it all yourself?

TJ: I don’t know. I want to get all this music out, take a bit of time off, wipe the slate clean and reassess things. Part of me never wants to make a record with a 4/4 in it ever again. Another part of me wants to make the most tear-jerkingly beautiful gentle album. I’d like to attempt to make something sonically as good as one of my favorite Trevor Horn productions.

JS: Which is? What would be one?

TJ: Oh, Slave to the Rhythm, Moments in Love or something so beautiful it makes you want to cry.

JS: Those are the best records.

TJ: At the same time I love listening to Death Grips. At this point in my life, I really want to try to do something new, so much of what I’ve been doing over the past decade or so has been somewhat related to the past. That's holding me back.

JS: You think that's still possible? For you, it's brand new, but...

TJ: I think that's fairly impossible now. But I’ll give it a go!

JS: It is. It drives me nuts sometimes. It's like you think you have something and then it's out there. Fiorucci decides to relaunch this year, and all that stuff is like —

TJ: You know what? I was supposed to work on it.

JS: You should have.

TJ: A year and a half ago, they asked me to be involved. Do the design and everything for them. Didn't happen.

JS: You didn't want to?

TJ: I wanted to; it would have been a dream job.

JS: Just never happened?

TJ: Just never happened.

JS: Their archives are insane.

TJ: One of the later meetings I had with them, they got some stuff, just bits and bobs of things from the archive. They had this pair of jeans. I was like, “What the fuck?” They said “What?” I said, "You know what those jeans are?” They’re like, “No.” I said, “That’s Keith Haring.” Hand drawn jeans with him and —

Keith Haring on a skateboard

JS: L.A. II?

TJ: L.A. II!

Keith Haring and L.A. II (Angel Ortiz) on the show card for their opening at the Tony Shafrazi gallery, 1982

TJ: Yeah. They didn't even know about it. I'm like, these should not be in a box. These need to be in a fucking museum. They had no idea who L.A. II was. When Fiorucci opened a store in Milan and Keith Haring and L.A. II went along...what an amazing time. 

JS: Painted up the whole store, had videos, insane.

TJ: To paint the store.

JS: There's a video.

TJ: It is what it is. I would have liked to do something — it would have been interesting to do something in fashion. What I love about Fiorucci, and I think what’s missing now is I like to see women happy, smiling. Smiles are sexy and sadly they’re not so cool anymore. A generation of woman thinking it's far better to frown and look unhappy, what the fuck is that all about? No one does fun sex like Fiorucci.

JS: It was an amazing time.

TJ: That must have been crazy. There used to be a store in London on the Kings Road.

JS: Yeah, I went. I got some of the bags. I was mental into Fiorucci and collected everything.

TJ: Have you got the fanzines, the comic book?

JS: I didn't get those; I don't know why. I didn't know about them at the time. I had good friends that worked there and stuff. They would just give me all this stuff.

TJ: Fiorucci jeans, Dinky belts and Kicker shoes were big in the 70s & 80s with the Edgware Becks. Did you have Kickers in New York?

JS: I loved Kickers. I actually have the poster, all the different Kickers.

TJ: Collecting Kicker tags was massive for us as teenagers in the UK, in as many different colors as possible, and wear them all on your shoes.

JS: They still make them, right?

TJ: Do they?

JS: I think so.

TJ: They got picked up again in the late 90s, I think. 

JS: I know there was a relaunch or something. I would love to get a pair. I saw someone wearing a pair recently.

TJ: Same here, a good pair of Kickers would be great!

JS: Yeah.

TJ: Wow.

JS: There you go.Thank you for this, Trevor!

TJ: There you go; that's my life. Thanks for listening. 

[jesusvasser]

Report: Next-Gen VW GTI Could Make Up to 300 HP

The current Volkswagen Golf GTI has been on sale for a good amount of time, but it remains one of the best and well-rounded vehicles on the market at any price. Sure, it only has 228 horsepower, but if you really find yourself wanting more oomph, you can always spring for the 288-hp Golf R. Either that, or wait for the next-gen MkVIII Volkswagen GTI, which may be available with even more power than today’s R.

According to Germany’s Autobild, the next-gen Golf GTI will offer a power-boosting option that will bump output to around 300 horses from the next-gen base car’s estimated 245. Autobild‘s sourcing is nonexistent, so there’s no way to tell how much truth there is to this report. But it is interesting, to say the least.

There’s also no denying that the hot hatch market has changed a lot since the MkVII model was introduced. Not only has Honda begun selling the 305-hp Civic Type R in the U.S., Hyundai recently introduced the value-priced Veloster N, which makes 275 hp with the performance package, and there is also the 268-hp Subaru WRX. All of these cars come in at different price points and with different amounts of standard equipment, but it make senses for Volkswagen to offer the next-gen GTI with quite a bit more power in the context of its competitive set. Whether or not this means they’ll offer an even more muscular R—the better to battle both the Civic Si and Type R—or if this spells the demise of the R for now isn’t yet clear. We shouldn’t have to wait long to find out more, as the Mark VIII GTI should be unveiled soon.

The post Report: Next-Gen VW GTI Could Make Up to 300 HP appeared first on Automobile Magazine.

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[itswallstreetpr]

Why the Bottom is in for Pot Stocks ($TLRY, $NUGS, $APHA, $GTBIF, $CURLF)

After a torturous bear market, the bottom may finally be in place for the cannabis sector. Why? There are three big reasons. First, cannabis has become a seasonal marketplace. The price of cannabis flower will likely be on the rise as the dry season comes to an end and outdoor producers wind down their inventories as planting starts up for the new grow season. That means the market will be supplied only by hybrid system and indoor producers. Second, the coronavirus epidemic has shut down a lot of distribution at pot shops, but numerous delivery services have ramped into gear, and demand overall has risen because of hoarding, increased anxiety, and boredom. The initial shut down at dispensaries crashed these stocks. But the advent of widespread delivery has reopened the marketplace, leaving many stocks washed out and undervalued. Third, the crash on the coronavirus – that brought down the whole stock market – acted as a final straw, completely washing out investor sentiment in stocks in this space, which had already been through a long and drawn out bear market. This final leg was capitulatory and brought many names into the basement and ready for distressed asset accumulation. We are now on the other side of that crash and the path ahead is blue skies as far as the eye can see. With that in mind, here are five of our favorite names: Tilray Inc (NASDAQ:TLRY), Cannabis Strategic Ventures (OTCMKTS:NUGS), Aphria Inc (NYSE:APHA), Green Thumb Industries Inc (OTCMKTS:GTBIF), and Curaleaf Holdings Inc (OTCMKTS:CURLF) Tilray Inc (NASDAQ:TLRY) crashed down to just $2.50/share in mid-March. That was the end of a pullback that started in September 2018 at the $300/share intraday highs. This is the poster child for the cannabis bear market. But look at this way: the stock is now trading at 1.8x sales on 202% topline growth, on a glidepath to nearly a quarter billion in revenues in 2020. That’s just not something you see. It’s washed out. Debt is an issue, and the cost of servicing that debt is an impediment, and we would have said that was a big problem when it was trading at $40/share. But at $5 or even $15 per share, this is something that deserves some attention. Tilray Inc (NASDAQ:TLRY) has a strong current balance sheet, with cash levels exceeding current liabilities ($96.8M against $92.4M). So the problems aren’t getting worse. The company offers its products in Argentina, Australia, Canada, Chile, Croatia, Cyprus, the Czech Republic, Germany, New Zealand, and South Africa. Tilray, Inc. was incorporated in 2018 and is headquartered in Nanaimo, Canada. One of its key subsidiaries is High Park, which was launched to produce and distribute world-class cannabis brands and products for the Canadian market. Based in Toronto and led by a team with deep experience in cannabis and global consumer brands, High Park has secured the exclusive rights to produce and distribute a broad-based portfolio of cannabis brands and products in Canada, subject to applicable laws and regulations. In addition, High Park has developed new brands and products for the Canadian market. Upon the coming into force of federal legalization of cannabis for adult-use and corresponding provincial legislation, High Park anticipates fulfilling adult-use supply agreements and purchase orders in Quebec, Ontario, British Columbia, Manitoba, Nova Scotia, Prince Edward Island, Northwest Territories and Yukon on October 17, 2018.   Cannabis Strategic Ventures (OTCMKTS:NUGS) is the real small-cap speculative name on this list. But don’t let the price fool you: this is a major producer in the making, with capacity coming online that amounts to 275k square feet of premium cannabis cultivation capacity, which is capable of yielding 178,750 square feet of canopy flower space, based on industry standard assumptions. Given standard expectations of at least 4 harvests per year for similarly outfitted facilities, with each square foot generally assumed to yield 30-50 grams of cannabis flower, this capacity carries the potential to yield an annual harvest volume of between 21.5 to 35.8 million grams. It’s also one of the cheapest and most interesting names in the space. The company just hit the wires to announce the sale of a whopping 1000 lbs of cannabis. The street value of that much pot is something approximating $3.5 to $4 million. Cannabis is pricing at nearly $1,600 per pound at the top of the wholesale supply chain. The company also noted in the release that it is hiring to build more staff because it is seeing an overwhelming amount of demand due to downsizing competitors and increasing consumer need. “We believe there are two factors driving cannabis prices higher right now,” commented Simon Yu, CEO. “First, people are reacting to the coronavirus epidemic, which is producing anxiety and an instinct to hoard necessary goods. For many people, that includes cannabis. This is particularly true for those with medical marijuana prescriptions. Second, we are moving toward the end of the dry season, so supply is tapering out of the market as outdoor producers wind down inventories ahead of the new planting season. We are clearly benefitting from both of these dynamics right now, which should continue to drive performance over coming months.” Cannabis Strategic Ventures (OTCMKTS:NUGS) incubates, develops and partners with category leaders in the cannabis and ancillary sectors. Its NUGS brand experience provides operational and financial strategic partnerships and a range of essential services to emerging and existing Cannabis consumer brands. Apparently, right now is a good time to have this one on the radar. The company noted in its release that it has hundreds of pounds of inventory on hand, expanding production, rising cannabis prices, and growing demand. As such, while other players in the space appear to be cutting back, NUGS has no plans to cut. They are actually hiring Instead. Yu continued, “It’s remarkable to see other producers actually moving to reduce capacity and headcount at a time when people who legitimately need this product are finding it difficult to locate. From our vantage point, this is a tremendous opportunity to strike while the iron is hot and expand our share of the market by meeting the booming demand that’s out there right now.”   Aphria Inc (NYSE:APHA) is actually just about the best of both worlds right now: it’s maybe the fastest growing big producer, and it’s maybe the most undervalued one on a p/s basis. To put it bluntly, the stock is trading at 1.7x sales on over 450% y/y sales growth with a pace in the works to beat a half billion on the top line. That’s ridiculous. Aphria Inc (OTCMKTS:APHQF) has been setting the standard for the low-cost production of safe, clean and pure pharmaceutical-grade cannabis at scale, grown in the most natural conditions possible. Focusing on untapped opportunities and backed by the latest technologies, Aphria is committed to bringing breakthrough innovation to the global cannabis market. The Company’s portfolio of brands is grounded in expertly-researched consumer insights designed to meet the needs of every consumer segment. “Rooted in our founders’ multi-generational expertise in commercial agriculture, Aphria drives sustainable long-term shareholder value through a diversified approach to innovation, strategic partnerships and global expansion, with a presence in more than 10 countries across 5 continents.” The company touts itself as one of Canada’s lowest cost producers, produces, supplies and sells medical cannabis. The company is truly powered by sunlight, allowing for the most natural growing conditions available. “We are committed to providing pharma-grade medical cannabis, superior patient care while balancing patient economics and returns to shareholders. We are the first public licensed producer to report positive cash flow from operations and the first to report positive earnings in consecutive quarters.” The context for this announcement is a bit of a bid, with shares acting well over the past five days, up about 12% in that timeframe. Aphria Inc (NYSE:APHA) pulled in sales of $120.2M in its last reported quarterly financials, representing top line growth of 454.5%. In addition, the company has a strong balance sheet, with cash levels far exceeding current liabilities ($497.7M against $152.5M).   Green Thumb Industries Inc (OTCMKTS:GTBIF) is another rapid-growth target for investor attention, with the top line humming along at better than 300% The company is a producer and distributor of cannabis products including flower, concentrates for dabbing and vaporizing, edibles, and topicals. The company markets its products through third party retailers. It also owns and operates a chain of 50 retail stores under the RISE dispensaries name. Green Thumb Industries Inc (OTCMKTS:GTBIF) is a national cannabis cultivator, processor and dispensary operator, is dedicated to providing dignified access to safe and effective cannabis nationwide while giving back to the communities in which they serve. As a vertically integrated company, GTI manufactures and sells a well-rounded suite of branded cannabis products including flower, concentrates, edibles, and topicals. The company also owns and operates a rapidly growing national chain of retail cannabis stores called RISE(TM) dispensaries. Headquartered in Chicago, Illinois, GTI has seven manufacturing facilities and licenses for 50 retail locations across seven highly regulated U.S. markets. Established in 2014, GTI employs more than 350 people and serves hundreds of thousands of patients and customers each year. The context for this stock right now is a bit of a bid, with shares acting well over the past five days, up about 7% in that timeframe. Green Thumb Industries Inc (OTCMKTS:GTBIF) pulled in sales of $100.1M in its last reported quarterly financials, representing top line growth of 264.8%. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($60.5M against $148.4M, respectively).   Curaleaf Holdings Inc (OTCMKTS:CURLF) pulled in sales of $99.6M in its last reported quarterly financials, representing top line growth of 136%. In addition, the company is battling some balance sheet hurdles, with cash levels struggling to keep up with current liabilities ($54.9M against $137.8M, respectively). The stock is one of the biggest players with US east coast exposure as a primary footprint. Shares recently touched cycle bottom in the $2.50/share area, and it certainly looks like a low that can stick at this point. Curaleaf Holdings Inc (OTCMKTS:CURLF) promulgates itself as a company that operates as an integrated medical and wellness cannabis operator in the United States. The Company is the parent of Curaleaf, Inc., a leading vertically integrated cannabis operator in the United States. Headquartered in Wakefield, Massachusetts, Curaleaf, Inc. has a presence in 12 states. Curaleaf, Inc. operates 30 dispensaries, 12 cultivation sites and 9 processing sites with a focus on highly populated, limited license states, including Florida, Massachusetts, New Jersey and New York. Curaleaf, Inc. leverages its extensive research and development capabilities to distribute cannabis products in multiple formats with the highest standard for safety, effectiveness, consistent quality and customer care. Curaleaf is committed to being the industry's leading resource in education and advancement through research and advocacy. Curaleaf Inc.'s Florida operations were the first in the cannabis industry to receive the Safe Quality Food certification under the Global Food Safety Initiative, setting a new standard of excellence. It cultivates, processes, markets, and/or dispenses a range of cannabis products in various operating markets, including flower, pre-rolls and flower pods, dry-herb vaporizer cartridges, concentrates for vaporizing, concentrates for dabbing, tinctures, lozenges, capsules, and edibles. The company also provides non-cannabis services to licensed cannabis operators in the areas of cultivation, extraction and production, and retail operations. As of November 01, 2018, it operated a network of 29 dispensaries. The company was founded in 2010 and is headquartered in Wakefield, Massachusetts. The stock has been acting well over the past five days, up about 12% in that timeframe. Read the full article

[jonathanbelloblog]

Report: Next-Gen VW GTI Could Make Up to 300 HP

The current Volkswagen Golf GTI has been on sale for a good amount of time, but it remains one of the best and well-rounded vehicles on the market at any price. Sure, it only has 228 horsepower, but if you really find yourself wanting more oomph, you can always spring for the 288-hp Golf R. Either that, or wait for the next-gen MkVIII Volkswagen GTI, which may be available with even more power than today’s R.

According to Germany’s Autobild, the next-gen Golf GTI will offer a power-boosting option that will bump output to around 300 horses from the next-gen base car’s estimated 245. Autobild‘s sourcing is nonexistent, so there’s no way to tell how much truth there is to this report. But it is interesting, to say the least.

There’s also no denying that the hot hatch market has changed a lot since the MkVII model was introduced. Not only has Honda begun selling the 305-hp Civic Type R in the U.S., Hyundai recently introduced the value-priced Veloster N, which makes 275 hp with the performance package, and there is also the 268-hp Subaru WRX. All of these cars come in at different price points and with different amounts of standard equipment, but it make senses for Volkswagen to offer the next-gen GTI with quite a bit more power in the context of its competitive set. Whether or not this means they’ll offer an even more muscular R—the better to battle both the Civic Si and Type R—or if this spells the demise of the R for now isn’t yet clear. We shouldn’t have to wait long to find out more, as the Mark VIII GTI should be unveiled soon.

The post Report: Next-Gen VW GTI Could Make Up to 300 HP appeared first on Automobile Magazine.

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[eddiejpoplar]

Report: Next-Gen VW GTI Could Make Up to 300 HP

The current Volkswagen Golf GTI has been on sale for a good amount of time, but it remains one of the best and well-rounded vehicles on the market at any price. Sure, it only has 228 horsepower, but if you really find yourself wanting more oomph, you can always spring for the 288-hp Golf R. Either that, or wait for the next-gen MkVIII Volkswagen GTI, which may be available with even more power than today’s R.

According to Germany’s Autobild, the next-gen Golf GTI will offer a power-boosting option that will bump output to around 300 horses from the next-gen base car’s estimated 245. Autobild‘s sourcing is nonexistent, so there’s no way to tell how much truth there is to this report. But it is interesting, to say the least.

There’s also no denying that the hot hatch market has changed a lot since the MkVII model was introduced. Not only has Honda begun selling the 305-hp Civic Type R in the U.S., Hyundai recently introduced the value-priced Veloster N, which makes 275 hp with the performance package, and there is also the 268-hp Subaru WRX. All of these cars come in at different price points and with different amounts of standard equipment, but it make senses for Volkswagen to offer the next-gen GTI with quite a bit more power in the context of its competitive set. Whether or not this means they’ll offer an even more muscular R—the better to battle both the Civic Si and Type R—or if this spells the demise of the R for now isn’t yet clear. We shouldn’t have to wait long to find out more, as the Mark VIII GTI should be unveiled soon.

The post Report: Next-Gen VW GTI Could Make Up to 300 HP appeared first on Automobile Magazine.

from Performance Junk Blogger 6 http://bit.ly/2CWmzAm via IFTTT

[newssplashy]

Finance: I drove an electric car for the first time under intense conditions — and it performed surprisingly well

I drove an electric vehicle, a Chevy Bolt, for the first time on an autocross course. Almost none of the maneuvers required by the course would apply to everyday driving, but the course demonstrated how the Bolt could hold up in unusual circumstances.

I drove an electric vehicle, a Chevy Bolt, for the first time on an autocross course.

The Bolt's acceleration wasn't remarkable, but it handled well. I felt like it was always under control, even when I pushed it into a series of hard turns.

I came away with a positive impression of the Bolt. Almost none of the maneuvers required by the course would apply to everyday driving, but the course demonstrated how the Bolt could hold up in unusual circumstances.

A Chevy Bolt is not the first car you might think to use on an autocross track.

Autocross is a timed competition in which cones are arranged, often in a flat and spacious environment like a parking lot, to create a course that tests a driver's ability to make a number of tight turns with precision. A modestly-priced car might not seem like the most logical choice for this sort of event, but on a 2017 list of the cars best suited for autocross, the automotive publication Road & Track included affordable vehicles like the Ford Fiesta and Honda Civic alongside a Porsche Cayman and Corvette.

Like the Fiesta, the Bolt is light and compact, which helps with agility and tight turns. And its 266 pound-feet of torque tops competitors like the Nissan Leaf (236 pound-feet) and the BMW i3 (184 pound-feet). While it won't provide blistering acceleration (it takes 6.2 seconds to go from 0-60 mph) or race car-level handling, the Bolt can navigate tight turns and frequent changes in speed without spinning out of control.

The Bolt was also the first fully-electric vehicle I've driven. First released in late 2016, the Bolt is General Motors' mass-market electric car, beating Tesla's mass-market vehicle, the Model 3, to market by a year. With 238 miles of range, the Bolt set out to ease range anxiety without breaking the bank.

While my first experience with the Bolt — and electric cars in general — came under unusual circumstances, it demonstrated how electric vehicle technology has progressed to a point where early stereotypes about electric vehicles being flimsy and impractical no longer apply.

Here's how the Bolt held up over three hours of runs on an autocross track.

The autocross course was set up in the parking lot of Citi Field, the New York Mets' baseball stadium.

Five total cars were available to drive — four Chevy Bolts and a gas-powered Volkswagen Golf GTI.

Two of the Bolts had all-season tires, like the one in this photo.

The other two had summer tires, like the one in this photo.

The Volkswagen Golf GTI was provided as a point of comparison.

My first few runs in the Bolt were somewhat nerve-wracking. I'd never raced a motorized vehicle — aside from go-karts — before, and performing a sequence of tight turns at even a moderate speed was jarring.

On some parts of the course, I even felt slightly nauseated.

But as I slowly adjusted, I was able to become more aggressive and got a better sense of how the Bolt performed in abnormal conditions.

The Bolt's acceleration wasn't remarkable, but it handled well. I felt like it was always under control, even when I pushed it into a series of hard turns.

The Bolt performed best when regenerative braking wasn't activated.

After the driver's foot is taken off the accelerator, an electric car with regenerative braking can slow down more quickly than a gas-powered car would.

And while the car is slowing down, some of the kinetic energy that would normally be wasted as heat is captured and used to charge the car's battery.

Regenerative braking is better suited for everyday driving. In this context, the Bolt's normal braking mode allowed for more control over how much the car would brake before and during a given turn.

With or without regenerative braking, the Bolt compared well to the Golf. While it felt like the Golf was a bit faster and had slightly better traction than the Bolt with all-season tires, I didn't sense much of a difference once I switched to the Bolt with summer tires.

Though the other drivers' top times indicate that the Golf might have a slight edge over the Bolt, even with summer tires. (I attribute the large disparities between my top times to my increasing level of comfort with the course rather than any significant differences between the cars.)

Overall, I came away with a positive impression of the Bolt. Almost none of the maneuvers required by the course would apply to everyday driving, but the course demonstrated how the Bolt could hold up in unusual circumstances.

And it was clear how its regenerative braking mode could be useful in heavy traffic or on residential roads.

While I learned that I don't have the temperament or skill to be a successful autocross driver, I was able to see first-hand that, from a performance perspective, electric vehicles are ready for the mainstream.

source http://www.newssplashy.com/2018/06/finance-i-drove-electric-car-for-first_3.html

[swimmingkoalakitty-blog]

Fall (period)Colorado fall colors guide: Where when to go. Erie will certainly rival at least 100 other areas to land Amazon's second head office, as well as the 50,000 tasks that come with it. The report will be sent out to your e-mail address within 12 hours after your payment has been finished. Matt started the I College's Master of Information & Data Science program this term and is the first recipient of the Jack Larson Information completely" Fellowship, which helps MIDS students utilizing information science to benefit society. Current Graduates could be converted to an irreversible placement (or, in some limited situations, a term visit lasting 1-4 years). The apartment is positioned around 3 kilometres from the center of Nowy Targ. Ludzi) należało do Polski przed 1938 r. Było to jedenaście wsi orawskich (Lipnica Wielka i Mała, Zubrzyca Górna i Dolna, Jabłonka, Chyżne, Orawka, Bukowina, Podszkle, Harkabuz, Podsamie) i piętnaście wsi spiskich (Niedzica, Łapsze Wyżne i Niżne, Łapszanka, Kacwin, Brzegi, Rzepiska, Jurgów, Czarna Góra, Trybsz, Krempachy, Nowa Biała, Frydman, Falsztyn, Dursztyn). Zerknijcie na naszą stronę, gdzie znajdziecie wywiad z naszym nowym kapitanem Marcinem Koluszem. Redakcja nie ponosi odpowiedzialności za treść komentarzy, zastrzega sobie jednak prawo do nie publikowania ich, zwłaszcza tych, które zawierają wulgaryzmy, epitety powszechnie uznane za obraźliwe, nawołują do zachowań niezgodnych z prawem, obrażają osoby publiczne i prywatne, inne narodowości, rasy, religie itd. The examination was made on March 18, after the second suit for the bronze medal against STS Sanok. More detailed historical ship motion AIS records are readily available on demand. Des centaines d'immigrés ont franchi vendredi au petit matin la haute barrière entourant la ville autonome espagnole de Ceuta au Maroc, certains ayant été blessés. I likewise advise nearby Frydman of Kasztel and triplex storages, which years earlier was stored Hungarian wines. Michael Galyean, dean of Texas Technology University's College of Agricultural Sciences and also Natural Resources, has actually been promoted to provost and senior vice head of state of academic events there. It is a wood burial ground church, which is consisted of in Little Poland's route of Wooden Design. Nonetheless, the Jewish populace made up an insignificant percent of the total variety of the community's inhabitants. Słowacy nie tylko odebrali te obszary, które Polska włączyła w swe granice niespełna rok wcześniej, ale także anektowali terytoria tzw. All Android phones, tablets, and wearables (except those utilizing just Bluetooth Low Power) of all versions are affected by four vulnerabilities found in the Android os, two of which allow remote code implementation (CVE-2017-0781 as well as CVE-2017-0782), one results in information leakage (CVE-2017-0785) and the last allows an assailant to do a Man-in-The-Middle assault (CVE-2017-0783). However discount rate codes don't work in this country. It's time to buy a cheap trip and see the community up close. The result of using data processing to data, giving it context as well as significance. Have a look inside CSU Sacramento's first dancing performance of the year. . VITAL NOTIFICATION - in collaboration with bet365 provides over 70,000 real-time streaming events per year. Za udział w agresji na Polskę Niemcy oficjalnie przekazali je Słowakom 21 listopada 1939 r. Do Słowacji włączono 770 kilometres, zamieszkanych przez ponad 34,5 tys. Twenty kilometres north of Zakopane exists the old market community of Nowy Targ. Today's Playbill Five (only there were too many to select simply 5). Trening składa się z części technicznej i WOD, w którym czas jest już istotnym elementem wpływającym na intensywność. The cheapest tickets to Nowy Targ offered within the past 7 days were $265.94. Prices quoted are each, big salami, through specified. Vince Gill spoke about Troy Gentry at his funeral service at the Grand Ole Opry House. Rotterdam authorities stopped a van with a number of gas containers near the location of a performance that was terminated after a danger, mayor says. Conversion to an affordable service settings is not an entitlement. Use our filters and sorting features to find the most affordable bus tickets or luxury buses. The name comes from the red shade that plants tackle in the fall due to the peat land, developing a fantastic red rug. The short-lived bridge on westbound Broward Boulevard will certainly be taken apart when the work with the new bridge is performed in November. We additionally give resources especially for the news media. Priebus was insistent on this option, according to two White Home officials, and also called a conference at Trump's Mar-a-Lago hotel in February where your house's strategy existed as the single choice to senior advisors. If coming again I would love to invest more time having a look at the slopes nearer to Nowy Targ as well as trying the jacuzzi (we didn't have time), it looks impressive. Jest to idealne miejsce na odpoczynek od zgiełku miasta, dogodna lokalizacja pozwala na szybki dojazd do stoków narciarskich w zimie oraz szlaków turystycznych latem. The PMF Program Workplace supplies freshly hired PMFs a possibility to join its Positioning and Training Program. If greater than one person is interested, the company must apply the choice treatments under 5 CFR component 302 - consisting of the application of experts' choice and pass over treatments. Lists the years from those readily available which are posted to the JRI-Poland database. Pokoje gościnne w Witowie na Podhalu obok Zakopanego - wypoczynek, wycieczki w góry, ogniska, bryczki, kuligi. It supports remote (even third-party) software program installment on devices while keeping strong security guarantees. In return you will get an unforgettable remain in the wonderful land. Damaging: The Village Voice is ending its once a week print version. We are chatting a percentage of cigarette ash right here - something which within seconds would call for a group of forensic researchers to locate it. Even more bird feathers as well as - allow's face it once again! Otherwise please proceed with your booking without a code. . Things to Do in Nowy Targ, Poland - Nowy Targ Attractions. The background of ex-names is assembled instantly from AIS signals and also gives insight right into vessel proprietor changes, charter name modifications and reflaggings. General arrangements concerning Arrange D of the excepted service are ordered in 5 CFR 213.3401-2. Making more area at the Miami-Dade Area Sanctuary, greater than 100 pet cats as well as pets are being flown to Oakland, Calif The Information Program's terrain is the new-- networked-- public ball, the area fusing participatory on-line networks with conventional establishments as well as media, which is currently both a main battleground in numerous struggles for open society, as well as a field abundant with opportunities to promote open society. GTI, The Chicago company certified to run a clinical marijuana dispensary in Fairview, claims its plans are still on track. . It happened around 11:20 a.m. at East 26th and also Pennsylvania. Enter your e-mail right here as well as we'll send you a link to reset it. This responses is analyzed with Amazon.com's proprietary language software program and afterwards given to instructors to authorize (they can then send it to trainees as if it were composed by them). Maybe a rainfall was accountable for just what recently depleted around the coasts of Rhos on Sea as well as Shell Island - ambergris! He additionally uploaded a video on YouTube hoping his face will be enough to verify he is, as a matter of fact, Dave Davies of the Kinks, and conscripted fans right into the struggle. Rain fails to wet the mood on day 3 of the Minnesota State Fair. The conservative firebrand told The Denver Message on Wednesday that he is thinking of one more run after 2 shedding bids in 2010 as well as 2014. On the one hand, suppliers are most likely to adhere to the method's execution standards word-for-word, which indicates that when a susceptability is found in one system it could impact others. The Federal Federal government values the payments made by pupils and current grads of all backgrounds as well as ages. Le nom et le logo design de sont des marques commerciales ou des marques déposées de, L.P. aux États-Unis et/ou dans d'autres pays. Statements: Bazylika jest otwarta cały nowy targ dzień - od godz. Wonderful house, good outdoors as well as really pleasant hosts. Washington Correspondent Kellie Meyer reports there's argument on how to set about it. ACM COVERS publishes premium research leads to the fields of information as well as system safety and also privacy. News from the National Museum in Krakow directly to your email. Nowy Targ 7 - 10 Day Weather report Recap: Heavy rain (overall 33mm), heaviest throughout Fri evening. A very nice, comfortable and also intense holiday accommodation, near to the city. ile w skali całego frontu udział trzech słowackich dywizji nie wpływał na losy wojny, tyle na samym Podhalu i Sądecczyźnie było to wyraźne wsparcie oddziałów niemieckiej Armii gen. He has actually tasked replacement chiefs of personnel Rick Dearborn and also Joe Hagin with bringing some order to the head of state's timetable, pushing them to prepare occasions additionally ahead of time as well as to consist of one public-facing occasion daily and one traveling occasion each week, inning accordance with an elderly White Home aide. Additionally, Bluetooth supplies a broader aggressor surface than WiFi, virtually entirely undiscovered by the research area and hence contains much more susceptabilities. More than a lots pet dogs are left homeless after Typhoon Irma swept via Florida. National security-related requests are ruled out Gadget Demands or Account Requests as well as are reported in a different group. See the web links listed below the weather report for various other cities, communities and towns near Nowy Targ. Powersports lovers competed their snowmobiles on the lawn in different classes for a possibility to win rewards. A local car dealership is assisting to increase money for typhoon victims. . Where they will certainly be satisfied by the Golden State Warriors. A rural Detroit man that invested 16 years behind bars for killing his first other half pleaded guilty Wednesday in the slayings of his 2 daughters as well as 2 stepchildren and in the abuse of his second wife. The sponges are additionally marked such that an X-ray could identify them, permitting surgeons to much more quickly remove them later. Task part-financed by the European Union within the Regional Developmend Fund. Nowy Targ experienced no less compared to five big fires, during which at least fifty percent of the structures were entirely ruined. Eric Schaeffer routes the Stephen Sondheim-Hugh Wheeler musical that consists of Holly Twyford, Bobby Smith, Will Gartshore, as well as Broadway vet Florence Lacey. Our team believe testimonial payments and also property responses will highlight a wide range of experiences and opinions, which is vital in assisting guests make informed decisions regarding where to stay. Most of guides were created by survivors from the town, or people from the community that had actually arrived prior to the battle, and also were mostly published in between 1945 and 1975, as well as generally created in Hebrew or Yiddish.

OPM announces the possibility to look for the PMF Program (generally in the late summer or early loss) on the PMF as well as USAJOBS websites. So on Wednesday, top policy makers and financial growth stakeholders participated in a roundtable discussion. Weather report in Nowy Targ for today will aid to figure out the air temperature level, chance of rainfall, get data regarding wind direction and also rate, atmospheric pressure and air moisture, and also just how these data will transform throughout the day. Erie is entering the competitors to be a headquarters city for Amazon.com. Man-in-The-Middle (MiTM) strikes permit the enemy to obstruct and interfere in all data going to or from the targeted tool. With the large number of desktop, mobile, and also IoT devices only raising, it is vital we could make sure these types of susceptabilities are not manipulated. The BlueBorne attack vector needs no customer communication, works to all software versions, as well as does not need any kind of prerequisites or configurations aside of the Bluetooth being energetic. Odległe 85 km na południe od Krakowa, 433 kilometres na południe od Warszawy. After the ice hockey regular season ends we offer you hockey real-time ratings, standings and results of the top ice hockey events- IIHF World Champion Stanley Cup and hockey ratings from Winter months Olympic competition. The Erie Region Gaming Revenue Authority (ECGRA) awarded the neighborhood properties gives to 20 countywide non-profits at the Erie Zoo.