#portable crusher

[rockcrushers]

MK Semi-mobile Crusher and Screen

Material: Granite，limestone，pebble

Output Size: 0-5-10-20-31.5mm

Capacity:30-650 t/h

[bibannana]

Echo *munching on a meiloorun*: I wish I had a knife to cut this all up.

Fives *shrugs*: I don't see why you need a knife for it.

Echo *face scrunched*: To cut it into smaller pieces.

Fives *rolls his eyes*: Uh that's why we have teeth?? Portable mouth shredders.

Echo *bland look*: Don't you ever call teeth portable mouth shredders again.

[techdriveplay]

Why the Skullcandy Crusher ANC 2 are the Ultimate Headphones for Snowboarders

Snowboarding is more than just a sport; it’s an experience that merges the thrill of the slopes with the rhythms of your favorite tunes. For snowboarders seeking the perfect audio companion, the Skullcandy Crusher ANC 2 emerges as a top contender. Released on May 16, 2023, these headphones are not just about a mature design but also pack a punch with their bass-heavy sound profile and a range of…

[yall-hate-kids-tourney]

Y'all Hate Teens Tourney Bracket

(Bracket updated through Round 2c)

76 teens who are unfairly treated by the fandom for being teens. Who has it worst?

We tried our best with the matches, but sifting through several unique submissions does get to us... We apologize for any unfavorable matchups.

Please let us know of any name corrections. For Japanese names in particular, we denote long vowels and put given name first.

No guarantees on when the tourney starts, but we'll try to get it started within a week. We'll start by setting up the propaganda posts, which will be separate from the poll posts this time around.

Round 1 and 2 matchups under the cut. Color-coded schedule here; undescribed. Note that the listed order is not the same as the schedule.

Round 1

Alicent Hightower (House of the Dragon) vs. Abigail Hobbs (Hannibal)

Amy "Panacea" Dallon (Parahumans (Worm/Ward)) vs. Orihime Inoue (Bleach)

Lady Kenna (Reign) vs. Lisa "Tattletale" Wilbourn (Parahumans (Worm/Ward))

Kokichi Ouma (Danganronpa V3) vs. Scott McCall (Teen Wolf (MTV))

Daphne Blake (Scooby-Doo) vs. Sophie Foster (Keeper of the Lost Cities)

Breezepaw (Warrior Cats) vs. Winter (Wings of Fire)

Gamzee Makara (Homestuck) vs. Yanqing (Honkai Star Rail)

Vriska Serket (Homestuck) vs. Haru (Beastars)

Dirk Strider (Homestuck) vs. Xander Harris (Buffy the Vampire Slayer)

Wednesday Addams (Wednesday (Netflix)) vs. Sylvester Ashling (Epithet Erased)

Yukine (Noragami) vs. Sayaka Miki (Puella Magi Madoka Magica)

Yukio Okumura (Blue Exorcist) vs. Soyo Nagasaki (Bang Dream! Girls Band Party!)

Round 2

Dawn Summers (Buffy the Vampire Slayer) vs *1

Marcy Wu (Amphibia) vs. Fatespeaker (Wings of Fire)

Sansa Stark (Game of Thrones) vs. Charlotte Pudding (One Piece)

Olly (Game of Thrones) vs. Penny Carson (Bojack Horseman)

Azula (Avatar: The Last Airbender) vs. *2

Mai (Avatar: The Last Airbender) vs. Peril (Wings of Fire)

Katara (Avatar: The Last Airbender) vs. *3

Steven Universe (Steven Universe) vs. Gohan (Dragon Ball Z)

Adrien Agreste (Miraculous Ladybug) vs. *4

Marinette Dupain-Cheng (Miraculous Ladybug) vs. Sakura Haruno (Naruto)

Muu Kusunoki (MILGRAM) vs. Misa Amane (Death Note)

Chloé Bourgeois (Miraculous Ladybug) vs. Candace Flynn (Phineas and Ferb)

April O'Neil (Teenage Mutant Ninja Turtles (2012)) vs. *5

Gwen Stacy (Spider-Man : Into the Spider-verse) vs. Dovepaw (Warrior Cats)

Damian Wayne (DC) vs. *6

Sasuke Uchiha (Naruto) vs. Kyuusaku Yumeno (Bungou Stray Dogs)

Shinji Ikari (Neon Genesis Evangelion) vs. *7

Shuuji Kayama (Digimon) vs. Gon Freecs (Hunter x Hunter)

Asuka Langley Sohryu (Neon Genesis Evangelion) vs. Youko Nakajima (The Twelve Kingdoms)

Rei Ayanami (Neon Genesis Evangelion) vs. Uzi Doorman (Murder Drones)

Akito Shinonome (Project Sekai) vs. *8

Ena Shinonome (Project Sekai) vs. Mafuyu Asahina (Project Sekai)

Katsuki Bakugou (My Hero Academia) vs. *9

Yuuma Tsukumo (Yu-Gi-Oh) vs. Megumi Fushiguro (Jujutsu Kaisen)

Wesley Crusher (Star Trek: The Next Generation) vs. *10

Ezra Bridger (Star Wars: Rebels) vs. Theresa "Scary" Marlowe (Dungeons and Daddies)

Hope Estheim (Final Fantasy XIII) vs. Tohru Honda (Fruit Basket)

Severa (Fire Emblem) vs. Taimi (Guild Wars 2)

Yukari Takeba (Persona 3) vs. *11

Rise Kujikawa (Persona 4) vs. Kotone Shiomi (Persona 3 Portable)

Goro Akechi (Persona 5) vs. *12

Yuuki Mishima (Persona 5) vs. Makoto Niijima (Persona 5)

Phew, that was a lot.

[caltropspress]

FIELD NOTES STRAIGHT FROM THE GLUMS OF NEW JERUZALEM: Fatboi Sharif + noface's Preaching In Havana

[I played the Preaching In Havana cassette on a Panasonic Portable AM/FM Stereo Boombox Model #RX-F9 (manufacturing date circa 1988) at nine predetermined locations around the state of New Jersey—1-2 songs per site location—over several weeks in February and March 2023. Each song was played a minimum of three times (“Notice parables of three in every other inference”). The boombox was battery-powered and preferably set atop a natural surface. No GPS was used to navigate to the sites; a superannuated Rand McNally folding map was utilized. Disorientation was embraced.]

Here is a clad doom.

—Clark Coolidge, “After Morandi” (c. 1984)

Oblivion: walking the edge of insanity sideways…

—Orko the Psykotik Alien, NMS, “Invisible Oblivion” (2003)

All the world had gone unreal, mere foolish play—a shoddy carnival, a magic show; and remembering those who had died…those real severed heads, mouths working in the dirt, those real bodies stretched and torn apart on the rack…

—John Gardner, Freddy’s Book (1980)

[SITE REF. → Holy, Holy, Holy Altar; Mt. Holly, NJ. The Jersey Devil was supposedly chained to the altar within the stone vault. Holy, Holy, Holy is inscribed across the lintel. Track played: “Static Vision.”]

I ask at the altar [paraphrasing Gardner]: WHO IS THIS SAURIAN BEING WITH THE GOATISH SMELL, THIS IDIOT GOD? On “Static Vision,” Fatboi Sharif bemoans the “info drain”—a residual from the age of the Info Kill. Company Flow told us we MUST GET IN SYNC, and Bigg Justoleum led the way as the horns blowed. Behold, in a dark universe Sharif is chasing shadows.

Sharif speaks lowly of the “blood-sucking corporations,” clued into Marx’s diagnoses. “Kapital,” Killah Karl spews, “is dead labour, that, vampire-like, only lives by sucking living labour, and lives the more, the more labour it sucks.” Succulent, right, you sucker MCs? We’re frightened into the factories as the “news footage funnel[s] fear.” It’s “death [we] watch”—our own. Our work is “converted into necessaries,” Marxy Marx and the Funky Bunch writes, “by the consumption of which the muscles, nerves, bones, and brains of existing labourers are reproduced.” Yum yum, you Dray and Skoob dum-dums. This is your feast of grotesqueries.

[NB:  I will be formatting Fatboi Sharif’s lyrics in a manner suitable to Clark Coolidge’s poetic lines in his 1967 chapbook entitled, confusingly, Clark Coolidge.]

KVU at the engineering deck, the control panel, the console—King Vision Ultra[-magnetizing], if you will—with ineffable efx. Super-scientifikal behind the boards, knob-turning and ear-worming like the Scientist that is/was Hopeton Overton Brown, almighty creator who Rids the World of the Evil Curse of the Vampires (1981). Geng PTP with transformer coils cloying at your cortex, fair listener. His dub-infused engineering fits noface’s krunk-skronk productions and Sharif’s vertiginous vocals into deep-space and crypt-encasement, equally [EQ]. Cryptic, ’cause Sharif’s Sick Wid’ It meanings are entombed:

He’s hanging loose; forget the Smith & Wesson at the Smithsonian—they found a noose! What U See (Is What U Get) now in the xzibit. So raid the tombs of your own mind. Clark Coolidge, too: “Scratch of lines, on a vast hill or prone tomb. / Nothing buckles from them, no sneezed move” (from “After Morandi”).

I ain’t scared no more, Sharif shouts, dry-throated. He gargles holy water and spits. I can’t believe you, he hollers, as dubious as Du Bois staring down the Talented Tenth. Preaching In Havana is Fatboi Sharif penning editorials for The Crisis. Like Eric B. in ’88, he’s never scared. He seeks your AttenCHUN! Larger-than-life, like Bone Crusher on “Never Scared” in 2003: Now the plasma is oozing out of your cerebellum. Snort the bone dust or arrange the remains ritualistically. 

↴

In Charles Chestnutt’s 1899 story “The Gray Wolf’s Ha’nt,” narrator John and his wife are warned by old man Julius about clearing a tract of swampland for agricultural use. “Uncle Julius” regales them with a murder account from slave days about a “conjuh man” who could make “monst’us powe’ful goopher” and used a “mixtry” to exact revenge for his son’s death. Through craft and cunning, the conjure man transforms the murderer into a gray wolf and cons him into killing his wife (similarly duped and transformed into a black cat). By crafty design, Julius’s tale keeps folks off that desirable tract of land with fears of what haunts it. But John is undeterred. He finds no evidence of a wolf’s dwelling there, and if a wolf “had once made his den there, his bones had long since crumbled into dust and gone to fertilize the rank vegetation.” Instead, John discovers a “bee-tree” with an “ample cavity in its trunk” and “stores of honey within.” Julius’s haint warning, it turns out, is nothing more than a ruse to maintain “his monopoly” over the honey stash. “Poison honeycomb, / Sticky situation,” Sharif says on “John Hinckley.” 

[SITE REF. → Sybil’s Cave; Hoboken, NJ. An early 19th century natural spring excavated from the rock wall along the Hudson River; the cave was frequented by tavern-goers. Mary Rogers’ body was discovered in the shallow waters near the site, strangled and sexually abused, and the cave was eventually filled in. Track played: “The Hybrid.”]

I replied my brains in a hybrid of pain, Sharif raps on “The Hybrid,” his syntax clunking and skulking in ways that shouldn’t make sense but do. Let me explaaaaaiiiiin, he begs. Threats loom as “grenades surround ledge” and “PTSD particles” spread. (Cough into your elbow, won’t you?!) Don’t push; we’re close to the edge. Living on shaky grounds; let’s see if Sharif—like Rakim—knows the ledge. I’ve no doubt he does, but he still squeals like a teenybopper on the airport concourse:

“The eight-year-old with a pipe bomb by its privates” sounds like textbook projection. [Rapidly consults the DSM-5.] But let’s bring it back to A HYBRID OF PAIN. It’s Sharif’s term-in-ol-og-y, like Pharoahe Monch on “Bring It On”; he flows awkwardly and incisions are made into the [maggot] brain. Bring it on, motherfucker, bring it on—but also bring the pain like Meth. Sharif came to bring the pain hardcore from the [maggot] brain. We go inside his astral plane.

Brrrrrrriiiiiiiiiiiiiiiiiiinng! Fatboi Sharif awakens like Bigger Thomas with fantasies of furnaces dancing in his head. [...alarm clock clanged…spring creaked…voice sang…surly grunt sounded…tinny ring of metal…] TURN IT UP! BRING THE NOISE! A certifiable consonantal ruckus—the brawling br-, the stinging /n/, the queasy -ng. KVU’s Pain of Mind (2018) comes to mind, undeniably.

[SITE REF. → Gates of Hell; Clifton, NJ. The “Gates of Hell” are a network of sewage tunnels and underground passageways behind the old Erie-Lackawanna railroad tracks. Devil worshipers frequent the location. Track played: “Sunday School Explosions.”]

Sharif combines elements: “Science with cosmic plague and Hooked On Phonics” (it worked for me!). He steals a complete set from the flea market and magnetizes the cassettes and places slips of Scotch tape over the top slots—write-protection begone and be-damned. He can feel his “pulse risen” at the “silent treatment” he receives from the ferric formulation spirits he summons—a kiss of haunting hiss. He translates “postcards in Arabic” at the “NA meeting” prior to filming a reproduction of the Jets and the Sharks dance-fight as “Cronenberg’s last scene.” What results is a “war world ouija [that] got West Side Story.” Thus, Stephen Sondheim and Leonard Bernstein get flayed and slayed on “Sunday School Explosives.”

I’m still haunted by Fatboi Sharif’s echoey Oh, I’m buggin’? from Gandhi Loves Children’s “I’m Buggin.” It comes to me in my sleep, like the Sandman (“Enter Sandman near banquet,” Sharif raps on “John Hinckley,” and we’re off to Never Neverland Ranch with all the Culkins in Jacko’s bed). Not a hypnagogic vapor wave—but the dissonant hatred of Nicholas Sandmann silently smirking at the ceremonial drum of an Omaha elder as Black Hebrew Israelites shout gay-bashy slogans in the background. “Cronenberg’s last scene” will be as body-horrific as all his previous ones. Sharif feasts on a naked lunch of flesh sandwiches while typing Burroughs-like cut-ups onto a scarab beetle typewriter. He snorts lines of minced and mortared-and-pestled Black Meat—the guts and entrails of Scolopendra gigantea. “Oh, I’m buggin’?” has become an earworm, and Fatboi Sharif is every poor child pulling up to the ER with a cockroach lodged in its ear canal. Ruptured tympanic membranes at every entrance, each exit. To borrow a neologism from k-the-i?, Fatboi Sharif breeds electrobugs.

[SITE REF. → Shell Pile ghost town; Port Norris, NJ. Named for its mountains of oyster shells, a WPA guidebook from 1939 described Shell Pile as “a community of about 1,000 Negroes living in wooden barracks erected on stilts over the salt marshes.” A pathogen known as MSX devastated the local oyster industry in the mid-50s, and the community never recovered. The shell piles remain. Track(s) played: “John Hinckley” and “Sugarcane Plantation.”]

In 1990, Tragedy Khadafi (née Intelligent Hoodlum) proposed we arrest the president (NB: Your mother’s buggin’—her mind slanted, he rapped). In 1992, Paris became a Bush Killa, delivering a bullet from the barrel of a Black guerrilla. In 1998, Non Phixion dropped “I Shot Reagan” and Sabac dragged First Lady Nancy into the crosshairs: “His wife’s the hostage, / Her body parts up in a grab-bag.” On “John Hinckley,” Sharif’s ode to POTUS-pistol whippings, he speaks of the “covenant grab-bag.” It’s a covenant signed by Tragedy, Paris, Non Phixion, and now Sharif himself (among many other signees—Chuck D comes to mind as he invokes the Honey Drippers’ nix-Nixon anthem and its foundational drum break on 1987’s “Rebel Without A Pause”: Impeach the president—pulling out my raygun). 

“John Hinckley popped that president,” Sharif raps, and he did it with a naked raygun (...throb throb…throb throb…)—a Röhm RG-14. Sharif rap-renders the scene into a 60-second assassination, and he can sympathize with Hinckley—both film buffs, fans of Taxi Driver (1976). Jodie Foster—the child-actor playing child-prostitute—turned into a child-bride in Hinckley’s obsessive mind. Hinckley’s single “We Got That Chemistry” is streaming on all DSPs—I’m searching the liner notes for the Sharif feature; a collab for the ages. 

For his assassination plot, Fatboi Sharif readies “gun fire sun visor” with “spinning Budweiser breath.” He’s funky cold medina, cold lampin’, and “coldstone hypnotic.” He opens the “seventh seal,” chopping and playing chess with Myka 9 and Max von Sydow in a seaside “fog of chronic.” This is Sharif’s “daily operation”—peep him on the cover of Gang Starr’s Daily Operation (1992). He’s there—amongst the messy mahogany table covered with money stacks, Elijah Muhammad’s Message to the Black Man in America paperback, typewriter, and skull. He’s there—top-right, hiding behind the mounted boar’s head. He wears it like a mask. The illest brother when he gets his mic check.

He’s ready and willing to go underground—deep cavities and cavernous tunnelways:

After he goes for the headshot (like John Wilkes Booth with his derringer, like those old Rhymesayers cassette tapes…), Sharif’s weapon is a “soul glowing hidden in the briefcase.” The execution is the pulpiest fiction emanating an aura of Diaspora Problems.

In David Gordon Green’s 2000 film George Washington, the character George—young, strange, and Black—“had to be very careful never to get his head wet…”:

See, his fontanel was very, very, very, very soft. Like a baby’s head. And when he soaks it or itches it, it irritates his brain. He don’t like it, ’cause if somebody hit him in his head, he’d probably die.

As George and his group of mangy misfits fool around in a bathroom, another character, Buddy, pushes George and bangs his head against the wall. In retaliation, George pushes Buddy who slips and loses consciousness. When he comes to, blood begins to dribble from a crack in his skull and he ends up slumped in a urine-splashed stall—dead. “Everything’s blue in this world—all fuzzy,” Trent Reznor groans on Nine Inch Nails’ “The Downward Spiral,” “Spilling out of my head,” and from such a tiny little hole.

The character Nasia speaks with a Malick-inspired voiceover. Considering the unsettling tone and disquieting details of the film’s narration, Nasia’s name may as well be “Nausea.” Nas: I’m out for dead presidents to represent me. George Washington, Abraham Lincoln, JFK, Ronald Reagan, et al. In Hayao Miyazaki’s Nausicaä of the Valley of the Wind (1984), Nausicaä collects spore samples (like Ced-Gee collected Melvin Bliss records and transformed “Synthetic Substitution” into “Ego Trippin’”) and is eventually revived by Ohmu tentacles. Miyazaki’s ravaged world—his crushed-killed-destroyed eco-stressed landscape—is like Bliss sings: “Synthetic substitution has taken over this land, / There’s no one to blame but man.” Those monstrous Ohmu are roly-polies [Armadillidium vulgare] navigating digable planets. Oh, I’m buggin’?

In Blood and Guts in High School (1978), Kathy Acker’s “mysterious Mr Linker” rhetorically asks: “Where does culture come from? I will tell you. It comes from disease. All the great artists, Goethe, Schiller, and Jean-Paul Sartre—you must read Nausea in the French, in English it is nothing—have said this. They are aware how evil they are. They are aware this life is truly evil; due to this awareness, they are able to go beyond.” [Acker also depicts her protagonist Janey getting assaulted by a man whose “hands ran huge insects down (her) back.” Oh…I’m…buggin’?]

↴

Earlier in George Washington, Buddy paces a stage in some dilapidated auditorium (all the film's settings are ruinous—real Sharif video shoot environs) with a T-Rex mask on as he recites passages from the Book of Job:

All kinds of pests, like, all over its legs. Oh, that I were as in the months of old, as in the days when God watched over me: When His lamp shone over my head...and by His light I walked through darkness: When I was in my prime: When the friendship of God was upon my tent: When the Almighty was with me: When my children were around me: When my steps were washed with milk...and the rock poured out for me streams of oil.

[SITE REF. → Venusian alien contact location; West Main Street; High Bridge, NJ. Howard Menger purported to bear witness to cosmic lifeforms on his property. Track(s) played: “1999 Hacker Worldwide” and “Parasite.”]

Let transmission commence. Fatboi Sharif bends and adjusts the rabbit ears antenna on “1999 Hacker Worldwide.” Through the snow and noise (talkin’ about static vision, folx) emerges a “televised child slave, / Live at 11” (later, on “Sugarcane Plantation,” it’s the “news at 12” when he’ll “crucify white Jesus” on a live-feed). The commercial break previews what’s coming up next: “Tonight we loot the church.” Yes, loot the church and the monastery, because you know now that the Dalai Lama leaves your boo-boo achin’ like Bambaataa and requests you suck his tongue. Gimme the loot, gimme the loot! Sharif’s a bad, bad boy, in the pitchdown death-voice of Kid Hood on ATCQ’s “Scenario (Remix)”—his opening salvo is a son’s cry as he was murdered just days after recording his verse shirtless in the booth [cut to footage of Sharif performing shirtless]. “He didn’t say hello or nothin’,” Q-Tip told The Source for Hood’s obituary, “he just started rhymin’.” Gimme the loot, gimme the loot! Anthony Iles sees “the suspension of the normal ordering” and “new and unforeseen relations” between objects and behaviors when we loot. “[W]hen looters use a mannequin leg to break a shop window to impose some asset relocation from below we are talking about media as impure means.” Sharif’s got the impurest means and the impurest thoughts.

The carnivalesque catastrophe of Fatboi Sharif’s mind unravels. You know the “economy collapsing” and “fi…nan…cial by…pass…ing”—all that hocus-pocus. [I’m shaping your brain like pot…ter…y, Monch says, his motor temporarily running low on power but only to deconstruct the temporality.] Sharif has access; he’s got the “skeleton key” as he danses macabre, as he speaks “open sesame,” pulling from Antoine Galland’s orientalist Ali Baba and his Forty Thieves (or his Sporty Thievz, but the tomb raiders and grave robbers ain’t getting nada from us). Open Sesame Street to hip-hop. See MC Lyte rock the stoop in her purple sweatsuit. Sharif riding side-saddle on Snuffleupagus with the subwoofer pumping KMD’s “Humrush,” Bert philosophizing Buddhist emptiness (śūnyatā). (Oh, an empty place…a perfect place to practice the exciting art of humming.) Meanwhile, Sharif is on an expedition to “Woodstock 2030.” The brown acid warning still reverberates across space and time and he’s finger-crossed that there’s a few tabs left (the “final acid trip” he growls about on “5G Celsius Cell Tower”).

“1999 Hacker Worldwide” plays like Y2K paranoia—a glitch-hop ode to the millennium bug (Oh, I’m buggin’?). Kool Keith emerged as Black Elvis in 1999 and proceeded to get Lost in Space. The soundbombing of Common and Sadat X on “One-Nine-Nine-Nine” [...inch nails through each one of my eyelids, c. ’99] penetrated RealAudio players, and the Hi-Teknological production set the doom mood. On “Parasite,” Sharif “ride[s] a push on a Greyhound / Searching for a way out” with Dirt McGirt inflections. Behold a Pale Snuffleupagus.

[SITE REF. → VHS Walkway; Fort Lee, NJ. The original motion picture industry in America was located in Fort Lee, and in that spirit, a patio and walkway made up of VHS tapes surrounds a private residence. Track played: “Paging Dr. noface.”]

Fatboi Sharif has an ongoing appointment with his octagonecologyst, but Dr. Octagon isn’t answering his calls. Instead, he pages Dr. noface. And noface’s sonix are aptly described in Gardner’s Freddy’s Book: “Outside someone was again banging metal against metal. The sound was too irregular to be the work of a hammer, and the sound was sometimes loud, sometimes lighter, a mere clink.” noface takes the folk of “If I Had A Hammer” and filters it through his failed state fuzz. Peep him on the PTP cassette cover, his void-face hidden behind a Baphomet mask. He flexes his equilibrium—a sabbatic goat prematurely goated. He’s Black Phillip from Robert Eggers’ The Witch (2015), pacing his pen and passing you a ballpoint pen to sign your deal with the Devil. He doesn’t blink—redaction bars for pupils. “It was true that the Devil could sometimes read one’s mind,” Gardner writes, “that once he’d gotten into you there seemed to be no shaking him; but at least one could in some measure limit the monster’s conversation.” Sharif’s conversation with the listener knows no limits, though. For noface’s Baphomet cosplaying, Gardner’s Devil masquerades as a mule:

“What kind of fool are you, trying to block out the voice of the Devil with your fingers?” the mule scoffed. “Plug your ears with pebbles if it pleases you, and sing at the top of your voice to drown me out. I’ll still be heard!”

noface will still be heard as he activates the widening gyre (peace, Yeats) that is Preaching In Havana.

Furthermore, the album is a set of interlocking spirals—a helix, a hex. Spin yourself silly on a spiral staircase to Hell—ride a helicoid to the void. Listen as you’re yeah-boyee’d by the endless [eternal and infernal] echo of Flavor Flav—voices whirlpooling the River Styx. Eyes pierced by an unwound spiral notebook containing handwritten transcriptions of Malleus Maleficarum. noface’s productions aren’t beats; they’re dungeon bludgeonings. His loops are spirals, deranged and ceaselessly spinning out of control. A loop begins linear but soon goes labyrinthine. In Dante’s Inferno, his circles of suffering—circles and circles, oodles and oodles and oodles of o’s—from embryo to man and back again, form a downward spiral. Reznor razor-wire torture. “Slow it behoveth our descent to be,” the Italian in the Black medallion (no gold) writes. According to him, we have to acclimate “to the sad blast”—but I prefer to get dizzy from the disorientation. 

In an interview with Fatboi Sharif for The Next Movement podcast, co-host E. Fortson precisely sketches Preaching In Havana’s lineage to Divine Styler’s Spiral Walls Containing Autumns of Light (1992). On Preaching In Havana, she tells Sharif, it feels as if we’re granted access to his mind: “We’re hearing your internal thoughts, and we can witness how you’re processing them.” On Styler’s “Heaven Don’t Want Me and Hell’s Afraid I’ll Take Over,” the message blares like a Network nervous breakdown: “NEWS, NEWS, AND NEWS! MORE BLUESY NEWS!!!” Sharif adopts the mantle of the mad prophet of the airwaves.

Fatboi Sharif holds not a conch to his ear but a nautilus—a mollusk with musical musculature. What Bob James calls the “atmospheric orchestration” of “Nautilus” (1974) unravels as an infinite scroll for sample use—hordes of hip-hop producers synthesizing and submerging the oceanic depths Bob James chose to navigate. They abide by the spells Sharif proposes on “Sugarcane Plantation”: a “PCP posted, / Psychedelic relic, / Road atlas.” Their stems create helices of recorded sound—much like noface. Preaching In Havana devolves into a Wichita Vortex Sutra in an Allen Ginsberg mode, only to reveal the Beat poet’s affiliation with NAMBLA and how he squeezed my uncle’s thigh once at a book signing hoping for lemon juice to run down his leg.

Oh, the places you’ll go! Suessian spirals lead us to the Final Whorl Front. We link galaxy arms across the universe—needle our way through the Realm of the Nebulae. We crack the human genome with DNAlysis and hogtie James Watson in the process. Evocations of the inventor’s spring, of horrific histories like the lynch mob’s corkscrew used on Luther Holbert in 1904 in Doddsville, Mississippi to bore holes into his body and extract, in the words of the Vicksburg Evening Post, “quivering flesh.” On “Sugarcane Plantation,” Sharif is howling—he “yell[s] terrorist threats, / The coldest spirit, / In pig Latin” (emphasis on pig). His anti-rhymes coordinate with Lune TNS’s “Plantation Rhymes.” Pliny the Elder described comets as “knot[s] of fire” with an appearance that was “twisted like a spiral.” We’re fired up. Sharif’s got incendiary comments for daze, and each hits like a Molotov.

Sharif paints with a Tesla coil—streamer arcs and brush discharges. Voltage flashing from his cranium. As Kool Keith says, he’s “Eveready, like a battery—charged, / [He’s] worth the alkaline.” Ultramagnetic, indeed. Play Preaching In Havana backwards. Watch Fatboi Sharif perform: a human Fraser spiral illusion—hypnotic, fuck up your optics like ELUCID fucks up electronics. Misalignments and distortions. Ha, Sharif is sicker than your average. Can’t you see? Sometimes his words just hypnotize you. Or, as Archimedes wrote in On Spirals circa 225 BC:

I say that the area added by the spiral in the third revolution will be double of that added in the second, that in the fourth three times, that in the fifth four times, and generally the areas added in the later revolutions will be multiples of that added in the second revolution according to the successive numbers, while the area bounded by the spiral in the first revolution is a sixth part of that added in the second revolution.

Right? Right. (Oh, you buggin’?)

↴

Like the dark and droney ambience of Bobby Krlic’s Haxan Cloak moniker, noface fashions his own Excavation Musick, digging deep only to resurface, bedraggled and cloak tattered. Krlic (also noted for his role as an Ari Aster collaborator) described his first album as “a person’s decline towards death.” His follow-up was described as a “journey [to] a different plane.”

The 1922 silent film Hӓxan, directed by Benjamin Christensen [“hӓxan”:  Swedish for witch], plays like watching Fatboi Sharif perform live on mute. Christensen’s goal was to “throw light on the psychological causes of…witch trials by demonstrating their connections with certain abnormalities of the human psyche, abnormalities which have existed throughout history and still exist in our midst.” Such abnormalities exist—gloriously—on Preaching In Havana.

One of Hӓxan’s intertitles details “the terrible confessions” that can be “forced from [a victim] in less than a minute” by using the thumbscrew [tumskruv]. (The thumbscrew, naturally, being yet another spiral.) The brevity of the songs on Preaching In Havana have the same excruciating effect.

[SITE REF. → Bergwald Nazi Bund Camp; Federal Hill; Bloomingdale, NJ. The ruins of a Nazi Youth camp that was shut down by the FBI in 1941. The remnants of a stone cistern, storage silo, cabinets, and iron grates are still visible. Track played: “Nazi Needle Marks.”]

Outspoken about his adoration for Gonjasufi, Sharif channels his die-verse-ified voice often. We could compare his timbral offerings to Gonjasufi’s delivery on “Venom” from 2012’s MU.ZZ.LE. It’s not “singing” we hear, per se—it’s [sin]ging, it’s [singe]ing—transgressive, burning; a vicious and venomous flow. Sharif’s baritone [bury-tone] is throat-scourged. Liken it to the outro on Busta Rhymes’ When Disaster Strikes… (1997) where Busta screams and talks, stalks and fiends—“rap” as emceeing; “rap” as talking. Give me that ol’ “Preparation for the Final World[/Whorl] Front” religion. 

On “Nazi Needle Marks,” Sharif raps in “nauseous nasal chalk-line intervals,” to use his own phrase. The French Revolution comes for the Queen in b-boy style: “Exorcism Antoinette headspin.” The guillotine uprocks and downrocks until Marie’s dome rolls off the platform and into the crowd. Regan projectile vomits the greenest sticky-icky as she goes full Rock Steady on the 180-degree rotation. “Death of a salesman,” Sharif mutters with anti-consumerist ire. In Sharif’s looney-tune universe, Arthur Miller dicks down Marilyn Monroe before penning the final pages of his play—post-coital when he sends Willy Loman’s Studebaker speeding into a suicide machine. As for Marilyn, maybe it’s the “poison dart slumped her.”

Sharif says a prayer at the altar of the Beastie Boys’ prank-calling “Cooky Puss” (1983):

These pussy crumbs are making me itch! Sharif and the ill-communicating saboteurs are capable of making our skin crawl, not unlike El-P pontificating about how he “could suck a cookie out a pussy, no question” on Co Flow’s “Definitive.” Sick fux.  Before long, Sharif is back inhaling John Brown’s vaporizer and riding a white steed. He’s gonna “burn [the] village in search of [his] masterrrrr.” Torches, pitchforks, and hedge-shears in his holster. Fighting fire with fire to the point of self-immolation is a necessity for survival. Kathy Acker shows us what we’re up against:

One of the landlords burned down his building so he could collect the insurance money. Two families and one pimp were sleeping in this building when it burned down. The landlord sold the charred lot for lots of money to McDonald’s, a multinational fast food concern. This is how poor people become transformed into hamburger meat.

Or, as Sharif would versify it:

Ridin’ filthy-mangy-grimy-raunchy-dirty out of Rahway, bumping the Dead Kennedys’ “Nazi Punks Fuck Off” in the lemon. Screaming, lung-top, with Jello Biafra: We ain’t trying to be police. “The Nazi showed his needle marks” like the NJ state trooper showed his “Blood Honor” neck tats on his driver’s license photo ID.

[SITE REF. → Ong’s Hat village; Pemberton Township, NJ. Deep in the Pine Barrens, a group known as the Moorish Science Ashram established an Institute of Chaos Studies in Ong’s Hat and opened a portal to another dimension. Track played: “5G Celsius Cell Tower.”]

On “5G Celsius Cell Tower,” the cell tower sprouts polystyrene branches and the drones surveil the 5G conspiracists—they wouldn’t dare. Sharif says things have become “ice storm hazardous,” with the soul-lift of Godfather Don—we’re talking about a hellofasong. Fever-inducing frequencies are emitted, so Sharif raps like he’s caught an ague—he’s “breaking atoms.” The cover of Main Source’s Breaking Atoms (1991), which includes a spiral-in-the-making comprised of protons, neutrons, electrons [read it in the tone of Prince Po’s insight, foresight, more sight from OK’s “Releasing Hypnotical Gases”—yes, hypnotical], flashes across our mind’s eye.

“Jacob’s ladder staggered on” as a symbol of numbskull persistence. Sharif trudges through the stagger grass [a man from the meadows], swaggering like Stagolee, and he’s stopping for an intermission to stream one of his fave films: Jacob’s Ladder (1990). His physical form atomizes as he hallucinates the rungs of Jacob’s ladder twist and deform and become a helix. (William Blake’s 1805 watercolor shows a spiraling ascent.) Sharif cannonballs instead into the Boogiemonsters’ “Old Man Jacob’s Well” (1994)—a well where souls dwell. “I got the cravings again of the wicked,” and child abductions are the only answer. Demented, sick, and vile. Climb Jacob’s jaundiced ladder from well-to-cell tower.

The temperature’s rising on the “5G Celsius Cell Tower,” and we’ve got our culprit for coronaviruses, microchip implants, and mind control. But what you’ve really got to be concerned with—many people are saying—is that havoc-causing Havana syndrome. Fatboi Sharif is here to get idiopathic for you idiots. He’s hunkered down at the U.S. embassy in Cuba while the C.I.A. (Criminals In Action) claims Fidel Castro’s corpse is responsible. Someone somewhere under some top-secret security clearance is whispering about Sharif, and his ears ring out with tinnitus intensity. Ours, too.

↴

By now you know Fatboi Sharif is an atrocity exhibitionist who’d have the PMRC’s panties in a bunch, an MC whose processional route is the Stations of the Crass. Just as Chuck D’s voice from “Bring the Noise” (Once again, back, it’s the incredible…) reverberates through time, Fatboi Sharif’s tone pongs within the popcorn walls of our mind [substitute diabolical for incredible, though]. His white noise machine is a gnash teeth-grinder, perfection for fist-fucking fascists ’til they see shuriken stars between their eyes. I’m reminded of the caustic words of upfromsumdirt—his poem “Orisha Obsidious”:

this embryo of dark / black space spiral / virile midnight swirling / this onyx wet and non-unctuous vaginal and oleaginous this / this magnetic venom rancid with non-white wonder / rancid with non-white vocabulary self-servile, reverse-transcendent - pagan and perversely reported with discarded veins throbbing in black omniscience / chews its own adventure

In the “Static Vision” video, Sharif wears a fencing mask like a soiled diaper, a MU.ZZ.LE on loan from Gonjasufi. Olaudah Equiano was familiar:

I had seen a black woman slave…and the poor creature was cruelly loaded with various kinds of iron machines; she had one particularly on her head, which locked her mouth so fast that she could scarcely speak, and could not eat or drink….I afterwards learned [it] was called the iron muzzle.

The muzzle Equiano describes is depicted on Gonjasufi’s album cover, albeit shaded and spectrummed. He and Sharif both rupture the iron muzzle with punctuated flashes of resistance, hence the cleaving periods [MU.ZZ.LE]—they’ve got the makings of an ellipsis.

[SITE REF. → Mary’s Tower; Flemington, NJ. A dilapidated edifice in a wooded area off a county road. “Mary” committed suicide in a third story bedroom and her red-eyed specter haunts the tower. Track(s) played: “Smells Like Autopsy” and “Fentanyl Firing Squad.”]

I’m gonna allow Kathy Acker to set the scene for “Fentanyl Firing Squad”:

We had heard that this rock band called THE CONTORTIONS was gonna play in a redneck town in New Jersey and the white head singer thought he was James Brown. The rest of the band would be too drunk to stop the rednecks from beating up Brown.

James Brown was crawling baby-style across the floor. The rednecks were jerking their cocks off in a corner. James Brown crawled up to the redneck's boot. The redneck, confused, jumped James. Everyone in the club started hitting each other. I heard cops' sirens. I ran.

Acker writes Blood and Guts in High School in blood and guts—smeared and splattered. (L7 tossed tampon tricks and theatrics. Find yourself hungry for stink.) Picture “pig” painted in blood on Sharon Tate’s white front door by the Manson Family—the recording location of NIN’s The Downward Spiral [“spiral,” motherfucker, spiral!]. Reznor seethes on “Piggy”: “Black and blue and broken bones, / You left me here, I’m all alone.” Tally two hog heads for the haram tableau:

Sharif surely strikes a vital nerve, proving he’s been the nastiest one since birth [auto/matic…]. He can “purple haze testify” to that—and with the Fuzz Face pedal helping him power through what nixed Hendrix: a puke puddle; axed down by Vesperax. “Smells Like Autopsy,” hmm? Not like Teen Spirit scrrrawled by Kathleen Hanna on Kurdt’s wall. noface detours through The Caretaker’s haunted ballroom. That must be the ghost of electricity howling in the bones of his [no]face.

↴

Poet Phillip B. Williams introduces a Black hauntology, one of creaky floorboards and box fans that whisper in their manufacturing of wind. Williams calls each haunting “a loop of existence.” In “Haunting, Blackness, and Algorithmic Thought,” an essay that appears in a 2021 issue of e-flux journal, Ezekiel Dixon-Román reminds us of Derrida’s insight that “in every being there is a haunting.” Dixon-Román sees possibility in this. He conceives an “operation of Black techno-conjuring [as] a technological force that has the potential to reroute and alter the logic of the system.” With Fatboi Sharif’s steady output of discursive, deviant deviations, you can’t tell me he isn’t the prime mover of such potentialities. It’s not all so gravitationally heavy, though, seeing as how Sharif floats and flits about with the wreckless abandon of Slimer.

ANEC[/ANTI]DOTE 1:

I wanted to completely unhinge the language and then see if I could put it, if that would make an energy that would then hook up in some other way, like a magnet, like resistance—poles pushing and coming together…. There wasn’t any system of structures. The space between words became very important. How close together they were…. [Y]ou know what loop-players are? You make a loop of tape and there are these tape machines that have one play-back head and a single drive-wheel and you can put a loop on it and it has a rheostat knob so you can change the speed. I was doing these experiments…. I put a couple of words, or even one word at first, one each on two loops and put them both on, and I’d vary the times. And I swear that I could see…in fact, I wish that someone would scientifically follow this up, it was interesting. Let’s say that you had “of       this”,—you had “of” on one tape and “this” on another, and you would change the times until they came closer together in time and farther away, and I swear that you could join and become a phrase, and one millisecond on either side of that they don’t, they’re disembodied, and I got fascinated with that. I had this thing, I made a tape out of it, where they went in and out of phrase with each other for a half hour period so you could follow this, and I thought, well, hey, that’s interesting…. You really began to feel there was a magnetic force in language.

—Clark Coolidge interview with FRICTION magazine, Number 7 (1984)

[sample pack from Clark Coolidge, 1967]

ANEC[/ANTI]DOTE 2:

For Joy Division’s “She’s Lost Control” (1979), drummer Stephen Morris sprayed an aerosol can of tape head cleaner into a microphone to produce a drum sound (that’s a KVU move if I’ve ever seen one). Morris nearly passed out from the fumes. Fatboi Sharif has timewarped and is in that recording booth as a willing huffer of chlorofluorocarbons. What he produces as a result is a babbling brook of jabberwocky jargons:

Sharif clearly audited classes at Clark Coolidge’s School of Disembodied Poetics—body-the-track training, if you will. His method isn’t just sheer madness. He takes rumors of “bad blood’ and infusions of syphilis to the face. He spins plastic bendy straws into gold but not before sucking a spiral of backwashed spit from his cauldron. Wu-Tang is for the children, but Sharif is here to scare the children with his fury and fairy tales. Just accept it. After all, “our brains been programmed for so loooong!”

Images:

Le Sabbat des sorcières, Hans Baldung Grien, c. 1508-10 (detail) | Holy, Holy, Holy Altar (screenshot, via YouTube) | The Scientist Rids the World of the Evil Curse of the Vampires, 1981 (album cover) | Gates of Hell (screenshot, via YouTube) | Hooked on Phonics cassette set | Nausicaä of the Valley of the Wind, dir. Hayao Miyazaki, 1984 (screenshot) | George Washington, dir. David Gordon Green, 2000 (screenshot) | Venusian alien contact location (screenshot, via YouTube) | Apple Lisa Workshop not accepting Y2K date | "The Sabbatic Goat" from Dogme et Rituel de la Haute Magie, Éliphas Lévi (1856) | Drawing by Nikola Tesla showing stages in his evolution of the high frequency resonant transformer used in his Tesla coil (1899) | Haxän, dir. Benjamin Christensen, 1922 (screenshot) | Carvel "Cookie Puss" TV commercial (1985) | Jacob's Dream, William Blake (c. 1805) | "Slave with Iron Muzzle," illustration from Souvenirs d'un aveugle, Jacques Etienne Victor Arago (1839) | Mary's Tower (screenshot, via YouTube) | Haxän, dir. Benjamin Christensen, 1922 (screenshot) | Le Sabbat des sorcières, Hans Baldung Grien, c. 1508-10 (detail)

[my-timing-is-digital]

@arendelliansovereign asked: 🛀    for    your    muse    to     wash    my    muse’s    hair

‘I have regulated the temperature of the water to accommodate your previously stated preferences; if you could please render yourself in an angle of 140 degrees and tilt your head back, I shall attempt to disentangle and wash your solidified hair,’ the android, masquerading as an explorer from the Western Provinces, requested gently.

    Upon passing through the Di’Sney W solar system, the U.S.S. Enterprise had detected a most unusual environmental fluctuation on the class M planet, 112713-F. The databases encompassed limited to no information pertaining to this celestial object, and therefore further research was required. An extensive away team had been assembled and transported down to the surface in a remote area several kilometers away from the nearest city, which they had identified as Arendelle. It was imperative that the pre-warp society was not accidentally exposed to Starfleet’s 24th century technology, hence why Lieutenant Commander Geordi La Forge and acting-Ensign Wesley Crusher had modified their equipment to emulate rudimentary objects resembling those utilised on the planet, while, in fact, they were tricorders, P.A.D.D.s, phasers, and combadges in disguise.

    The away team, supervised by Commander William T. Riker, the Captain’s second-in-command, had established a perimeter and set up camp. The camp was comprised of makeshift wooden cabins, which had been manufactured by the portable replicator that was programmed to resemble a tree stump when inactive. However, the investigation had reached an impasse after 4 days, 15 hours, 28 minutes, and 37 second, but the officers were determined to ascertain the source that had precipitated the deviation from the planet’s regular weather patterns to extreme snowfall in summertime.

    1 hour, 28 minutes, and 37 seconds ago, a periodic sensor sweep had discerned a humanoid lifeform a couple of kilometers beyond their perimeter; a woman had been caught in the middle of a ruthless blizzard, and since Data was the only individual unaffected by such a tempest, he had ventured out into the cold and retrieved her to the safety and comfort of a sturdy abode and a warm fireplace.

    ‘May I ask you a question of a personal nature?’ Data asked inquisitively, diligently applying the liquid content of a wooden bucket on to her frozen hair. ‘What were you endeavouring to accomplish in a storm of such a magnitude?’

[mordorintelligencemarketresearch]

The Mobile Crushers and Screeners Market: Trends, Challenges, and Future Outlook 

Introduction 

The mobile crushers and screeners market has witnessed significant growth in recent years, driven by the increasing demand for construction and mining activities across the globe. With urbanization on the rise and infrastructure development projects gaining momentum, the need for efficient and portable crushing and screening solutions has never been greater. This blog delves into the current state of the mobile crushers and screeners industry, key trends shaping the market, and future prospects. 

Market Overview 

Current Market Size and Growth 

The Mobile Crushers and Screeners Market is projected to reach approximately USD 3.10 billion in 2024 and is anticipated to grow to USD 4.08 billion by 2029, achieving a compound annual growth rate (CAGR) of 5.68% during the forecast period from 2024 to 2029. This growth is largely driven by rising investments in the infrastructure, mining, and recycling sectors.  

Key Trends Influencing the Market 

1. Technological Advancements 

The integration of advanced technologies such as IoT, AI, and automation is revolutionizing the mobile crushers and screeners market. These technologies improve operational efficiency, enhance safety, and reduce downtime, providing a competitive edge for manufacturers. 

2. Growing Demand for Recycling 

With increasing environmental concerns and stringent regulations on waste management, the demand for recycling is surging. Mobile crushers and screeners are becoming essential in the recycling process, allowing companies to process waste materials efficiently and sustainably. 

3. Rise in Urbanization 

Rapid urbanization in developing regions is driving the construction industry, which in turn boosts the demand for mobile crushing and screening equipment. Governments are investing heavily in infrastructure projects, further propelling market growth. 

4. Increased Focus on Sustainability 

Companies are increasingly prioritizing sustainability, leading to the development of eco-friendly mobile crushers and screeners. Manufacturers are focusing on energy-efficient models and sustainable materials, aligning with global sustainability goals. 

Challenges Facing the Industry 

Despite the promising growth trajectory, the mobile crushers and screeners market faces several challenges: 

High Initial Investment: The cost of acquiring advanced mobile crushing and screening equipment can be significant, posing a barrier for small and medium-sized enterprises. 

Regulatory Compliance: Manufacturers must navigate a complex web of regulations related to emissions, safety, and waste management, which can be costly and time-consuming. 

Market Competition: The industry is characterized by intense competition, with numerous players vying for market share. This can lead to pricing pressures and reduced profit margins. 

Future Outlook 

The future of the mobile crushers and screeners market looks promising. As infrastructure projects continue to expand globally, the demand for mobile crushing and screening solutions is expected to grow. Key players are likely to focus on innovation, sustainability, and customer-centric solutions to maintain their competitive advantage. 

Conclusion 

The mobile crushers and screeners market is at a pivotal moment, influenced by technological advancements, environmental concerns, and an ever-increasing demand for construction and recycling solutions. By addressing challenges and leveraging emerging trends, industry stakeholders can position themselves for success in this dynamic market. As we move forward, the focus on sustainable practices and innovative technologies will be critical in shaping the future of the mobile crushers and screeners industry. 

For a detailed overview and more insights, you can refer to the full market research report by Mordor Intelligence https://www.mordorintelligence.com/industry-reports/mobile-crushers-and-screeners-market 

[streamlineindustrial02]

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Eco-Friendly Construction Solutions: Concrete Crushers for Recycling Waste Concrete

In an era where sustainability is paramount, the construction industry faces the challenge of minimizing its ecological footprint. Traditional construction methods often generate a significant amount of waste, particularly concrete, which is one of the most widely used materials globally. However, innovative solutions are emerging to tackle this issue head-on. Among these, concrete crusher near me stands out as pivotal tools in the recycling process, transforming waste concrete into reusable materials. This article delves into the mechanics, benefits, and potential applications of concrete crushers, showcasing their role in fostering eco-friendly construction practices.

The Mechanics of Concrete Crushing

How Concrete Crushers Operate

Concrete crushers function through a process that mechanically pulverizes concrete into smaller fragments. This is typically achieved using hydraulic machinery that exerts immense pressure, breaking down the material while preserving its inherent properties. The crushed concrete can then be sifted to separate fine materials from larger aggregates, ensuring versatility in the resulting product. This process not only reduces the volume of waste but also enhances the potential for reuse in various construction applications.

Types of Concrete Crushers

There are several types of concrete crushers tailored for specific applications. Jaw crushers, for instance, employ a stationary and a movable jaw to crush concrete, making them ideal for primary reduction. Conversely, impact crushers utilize high-speed impact forces and are particularly effective in creating finer aggregates. Additionally, portable crushers offer flexibility, allowing for on-site processing, which further mitigates transportation emissions and costs. The choice of AIMIX crusher machine depends largely on the project requirements and the desired quality of the recycled material.

Benefits of Using Concrete Crushers

Environmental Advantages

The benefits of utilizing concrete crushers are manifold, particularly from an environmental perspective. By recycling waste concrete, construction projects can significantly reduce landfill contributions, which is crucial for urban areas facing space constraints. Moreover, this process diminishes the need for virgin materials, conserving natural resources and reducing the ecological impact associated with their extraction. The reduction of carbon emissions during manufacturing and transportation of new materials further underscores the eco-friendly credentials of concrete recycling.

Economic Implications

Beyond environmental benefits, concrete crushers offer substantial economic advantages. By recycling concrete, construction companies can lower material costs and minimize disposal fees associated with waste management. Additionally, the production of recycled aggregates can lead to new business opportunities, fostering a circular economy within the construction industry. This not only enhances profitability but also encourages sustainable practices that resonate with increasingly eco-conscious consumers.

Conclusion

As the construction industry grapples with sustainability challenges, concrete crushers emerge as invaluable assets in the quest for eco-friendly solutions. Their ability to recycle waste concrete not only conserves resources but also reduces environmental impact and fosters economic viability. Embracing such innovative technologies can pave the way for a greener, more sustainable future in construction, ultimately benefiting both the industry and the planet.

[bargainshouse]

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[rockcrushers]

[thexptcom]

Building Stronger Arms: Essential Gym Equipment for Effective Workouts

When it comes to achieving a well-rounded and muscular physique, strong arms are often at the top of the list. Whether you’re aiming to increase your strength, enhance your appearance, or boost your athletic performance, working on your arms is essential. At TheXPT.com, we understand the importance of effective arm workouts and the role that the right gym equipment plays in achieving your fitness goals. In this article, we'll explore the best gym equipment for arm exercises, how to use them correctly, and tips to maximize your gains.

#### Why Focus on Arm Workouts?

Arms are not just for show—they’re crucial for functional strength. Strong arms can improve your performance in other exercises, sports, and daily activities. Whether you're lifting heavy objects, playing sports, or even performing household chores, your arm muscles are heavily involved. Additionally, well-developed biceps and triceps contribute to a balanced and aesthetically pleasing upper body.

#### Essential Gym Equipment for Arm Workouts

**1. Dumbbells**

Dumbbells are a staple in any gym and for a good reason. They offer versatility and allow for a wide range of motion, making them ideal for targeting different parts of the arm muscles. With dumbbells, you can perform exercises like bicep curls, tricep extensions, and hammer curls. The key is to start with a weight that you can handle comfortably and gradually increase the load as your strength improves.

**2. Barbells**

Barbells are excellent for building mass and strength in your arms. They enable you to lift heavier weights than dumbbells, which is crucial for progressive overload—a key principle in muscle growth. Exercises like barbell curls and close-grip bench presses effectively target your biceps and triceps, respectively. Ensure that your form is correct to avoid injury and get the most out of your workout.

**3. Cable Machines**

Cable machines are fantastic for adding variety to your arm workouts. They provide constant tension throughout the entire range of motion, which can help stimulate muscle growth more effectively than free weights alone. For instance, tricep pushdowns and cable curls are great exercises that can be done using a cable machine. Adjust the pulleys to different heights to target different angles of the muscles.

**4. Resistance Bands**

Resistance bands are often underestimated but are highly effective for arm workouts. They’re portable, easy to use, and provide variable resistance depending on the band’s tension. Exercises like bicep curls, tricep kickbacks, and band pull-aparts can be performed anywhere, making them an excellent option for both gym and home workouts. Incorporating resistance bands into your routine can also help improve your muscle endurance and stability.

**5. EZ Curl Bars**

The EZ curl bar is designed to reduce strain on your wrists and elbows during bicep and tricep exercises. The curved grip positions your hands in a more natural angle, which can help prevent injury and allow for a more comfortable workout. Use the EZ curl bar for bicep curls and skull crushers to target your arm muscles effectively while minimizing joint stress.

**6. Tricep Dips Station**

The tricep dips station is another essential piece of gym equipment for building strong arms. Dips primarily target the triceps but also engage the shoulders and chest muscles. For a more challenging workout, add weight using a dip belt or perform dips on parallel bars. Ensure you maintain proper form to avoid injury and focus on controlled movements.

#### Maximizing Your Arm Workouts

**1. Focus on Form**

Proper form is crucial for preventing injuries and ensuring that you’re targeting the right muscles. Avoid using momentum to lift the weights; instead, focus on slow, controlled movements. Engage your core and keep your back straight during exercises to maintain stability.

**2. Progressive Overload**

To build muscle, you need to gradually increase the resistance you’re working against. This can be done by increasing the weight, the number of sets and reps, or the intensity of your workouts. Keep track of your progress and aim to challenge yourself with each session.

**3. Incorporate Variety**

Your muscles can adapt to repetitive exercises, which may lead to plateaus in your progress. To avoid this, incorporate a variety of exercises and equipment into your routine. This will keep your workouts challenging and ensure that all parts of your arm muscles are being worked effectively.

**4. Don’t Forget Recovery**

Recovery is just as important as the workout itself. Ensure you’re getting enough rest between sessions, staying hydrated, and fueling your body with the right nutrients. Incorporating stretching and foam rolling can also help improve flexibility and reduce muscle soreness.

#### Conclusion

Strong, well-defined arms are within your reach with the right approach and equipment. By incorporating dumbbells, barbells, cable machines, resistance bands, EZ curl bars, and tricep dips stations into your routine, you’ll be on your way to achieving your fitness goals. Remember, consistency is key—stay committed to your workouts, and don’t be afraid to challenge yourself. At TheXPT.com, we’re here to support you every step of the way on your fitness journey.

[jawcrushermanufacturers]

K.V. Metal Works: Leading Stone Crusher Manufacturer in Indore

Introduction

K.V. Metal Works, under the brand name Gold Crush, stands out as a premier stone crusher manufacturer in Indore, India. With a rich history of delivering top-notch machinery, K.V. Metal Works has become synonymous with quality, efficiency, and reliability in the stone crushing industry. Our diverse product lineup, including stone crusher machines, jaw crushers, sand making machines, and vibrating screens, ensures that we cater to a wide array of industrial needs. This article delves into our offerings, emphasizing our commitment to quality and customer satisfaction.

Stone Crusher Machines

As a leading stone crusher machine manufacturer in Indore, K.V. Metal Works provides a variety of machines designed to meet the crushing requirements of different industries. Our machines are built to handle tough conditions and are capable of processing different types of stones, from granite to limestone. The efficiency of our stone crusher machines ensures that customers receive the best return on investment, with minimal downtime and reduced operational costs.

Jaw Crusher Machines

K.V. Metal Works is a renowned Indore jaw crusher machine manufacturer, offering both single and double toggle jaw crushers. Our jaw crushers are engineered to crush the hardest materials, delivering consistent performance across various applications. We provide the best jaw crusher machine that ensures durability and efficiency. The double toggle jaw crusher is designed to operate at the best price, offering superior strength and longevity, making it a reliable choice for heavy-duty crushing operations.

Sand Making Machines

The demand for high-quality sand is on the rise, and K.V. Metal Works is a leading provider of sand making machines in Indore. Our machines are designed to produce fine, consistent sand suitable for construction and other industrial applications. With a commitment to innovation, we offer sand making machines at the best price, ensuring that our customers receive excellent value for their investment. Whether you need to buy sand making machines for a small-scale project or a large industrial operation, K.V. Metal Works has you covered.

Stone Crusher Plants

K.V. Metal Works is your go-to manufacturer when you need to buy the best stone crusher plant. Our stone crusher machine plant is designed to handle large-scale crushing tasks with ease. We ensure that our stone crusher plants are equipped with the latest technology, offering efficient and cost-effective solutions for stone crushing. The quality stone crusher plant from K.V. Metal Works guarantees performance and reliability, making it an ideal choice for construction companies and other industries.

Vertical Shaft Impactor

Our vertical shaft impactor (VSI) is an advanced piece of equipment designed for high-performance crushing. The VSI is integral to producing fine aggregates and sand, meeting the stringent requirements of modern construction. With a focus on energy efficiency and low operating costs, the VSI from K.V. Metal Works stands as one of the best in the industry.

Vibrating Screens

As the best vibrating screen manufacturer, K.V. Metal Works offers screens that are designed to separate materials with precision. Our vibrating screens are integral to stone crushing plants, ensuring that only the finest materials are used in further processing. We also supply single toggle jaw crushers at the best price, ensuring that our customers receive the best combination of efficiency and cost-effectiveness.

Mobile Stone Crushers

In today's fast-paced industrial environment, mobility is key. K.V. Metal Works is a leading mobile stone crusher manufacturer, offering portable crushing solutions that allow for flexibility in operations. Our mobile crushers are designed for ease of transportation and setup, enabling businesses to streamline their processes without compromising on performance.

Conclusion

K.V. Metal Works, under the Gold Crush brand, continues to lead the industry as a top stone crusher manufacturer in Indore. Our commitment to providing high-quality machinery at competitive prices ensures that our customers receive the best products and services available. Whether you are in need of jaw crushers, sand making machines, vibrating screens, or complete stone crusher plants, K.V. Metal Works is your trusted partner for all your crushing needs. Choose K.V. Metal Works for quality, reliability, and excellence in stone crushing solutions.

[smithsgravel]

Smith’s Gravel Pit is your go-to source for high-quality Rochester asphalt materials. Whether you are a contractor working on a large-scale project or a homeowner looking to repave your driveway, we have the perfect asphalt mix for your needs. Our materials are sourced from the finest raw materials, ensuring durability and long-lasting performance. We offer a wide variety of asphalt products tailored to meet the specific requirements of any project.

Smith’s Gravel Pit 7120 Sodus Center Rd, Sodus, NY 14551 (315) 483–6510

My Official Website: https://smithsgravelpit.com/ Google Plus Listing: https://www.google.com/maps?cid=16494322757833798555

Our Other Links:

landscape rocks Rochester NY: https://smithsgravelpit.com/stone-products/ Rochester crusher run: https://smithsgravelpit.com/crushed-stone-products/ Rochester sand: https://smithsgravelpit.com/sand-products/ Rochester top soil: https://smithsgravelpit.com/topsoil-products/ stone delivery Rochester: https://smithsgravelpit.com/trucking-and-delivery/

Service We Offer:

Trucking and Delivery Portable Crushing CRUSHED STONE NATURAL STONE TOPSOIL SAND Pea Gravel

Follow Us On:

Facebook: https://www.facebook.com/SmithsGravelPIt/ Twitter: https://twitter.com/SmithGravel Pinterest: https://www.pinterest.com/SmithsGravelPitNY/ Instagram: https://www.instagram.com/smithsgravelpit/

[craftsmencrusher]

250 TPH, 200 TPH, 150 TPH, and 100 TPH mobile crusher

At Craftsmencrusher, we specialize in delivering top-tier mobile crushing solutions tailored to meet the specific demands of various industries. Our range of mobile crushers is designed to offer maximum efficiency, reliability, and performance. Whether you're dealing with large-scale mining projects or smaller construction tasks, Craftsmencrusher provides versatile options to suit your needs.

250 TPH mobile crusher is engineered for high-capacity operations. Ideal for large-scale quarrying and mining projects, this crusher is built to handle massive amounts of material with ease. The robust design ensures durability, while advanced technology delivers consistent, high-quality output.

The 200 TPH mobile crusher from Craftsmencrusher strikes the perfect balance between power and portability. This model is suitable for medium-sized projects where efficiency and mobility are key. With its innovative design, it offers superior crushing performance while being easy to maneuver on-site.

For those seeking a compact yet powerful solution, our 150 TPH mobile crusher is the ideal choice. This crusher is designed for projects that require precise and efficient crushing capabilities. Its smaller footprint does not compromise on performance, making it a versatile option for a wide range of applications.

The 100 TPH mobile crusher is perfect for smaller operations or sites with space constraints. Despite its compact size, it delivers robust crushing power, ensuring that even smaller-scale projects can benefit from top-quality equipment. Its user-friendly design and high efficiency make it a popular choice for many.

[derbykitchen]

Raise the Bar: Essential Bar Equipment Suppliers Unveiled

Creating a memorable bar experience relies heavily on having the right equipment. From cocktail shakers to glassware, the quality and functionality of bar equipment suppliers directly impact drink preparation, presentation, and overall customer satisfaction. Choosing reliable suppliers for essential bar equipment is crucial for bars and beverage establishments aiming to deliver exceptional service and elevate the drinking experience. Here’s an in-depth look at essential bar equipment suppliers that can help bars raise the bar on their service and offerings.

### Importance of Choosing the Right Bar Equipment Suppliers

Selecting reputable bar equipment suppliers is vital for several reasons:

- **Quality and Durability:** High-quality equipment ensures durability and performance, withstanding the rigors of daily use in a busy bar environment.

- **Consistency in Service:** Reliable suppliers provide consistent access to essential tools, ensuring smooth operations and minimizing downtime.

- **Customer Satisfaction:** Well-maintained, efficient equipment enhances drink preparation and presentation, contributing to overall customer satisfaction and loyalty.

### Essential Bar Equipment Suppliers Unveiled

#### 1. **Libbey Glassware**

Libbey is a renowned name in the barware industry, offering a wide range of glassware tailored for various drinks and presentations. From classic rocks glasses and cocktail coupes to specialty glassware for craft cocktails, Libbey provides durable, stylish options that enhance the visual appeal of drinks and elevate the drinking experience.

#### 2. **Barfly Mixology Gear by Mercer Culinary**

Barfly, a brand by Mercer Culinary, specializes in high-quality mixology tools designed by bartenders for bartenders. Their range includes professional-grade cocktail shakers, mixing glasses, jiggers, and bar spoons crafted from premium materials like stainless steel and copper. Barfly products are known for their durability, ergonomic design, and ability to withstand the demands of high-volume bar service.

#### 3. **Waring Commercial**

Waring Commercial offers a comprehensive selection of bar equipment, including powerful blenders, juicers, and ice crushers essential for creating smoothies, cocktails, and other beverages. Their equipment is designed for commercial use, featuring robust construction and innovative features that streamline drink preparation while maintaining quality and consistency.

#### 4. **San Jamar**

San Jamar specializes in bar supplies and accessories that prioritize hygiene, safety, and efficiency. Their product line includes garnish centers, bar mats, ice scoops, and portable ice bins designed to enhance organization behind the bar and ensure compliance with food safety standards. San Jamar products are recognized for their practicality and contribution to operational efficiency in bars and restaurants.

#### 5. **True Refrigeration**

True Refrigeration is a leader in commercial refrigeration solutions, offering a range of under-counter refrigerators, glass-door merchandisers, and bar coolers ideal for storing beverages, garnishes, and perishable ingredients. Their refrigeration units are known for energy efficiency, reliable performance, and customizable options that cater to the specific needs of bars and beverage service establishments.

### Choosing the Right Supplier: Key Considerations

When selecting bar equipment suppliers, consider the following factors to ensure optimal service and operational efficiency:

- **Product Range and Variety:** Choose suppliers that offer a diverse selection of bar equipment to meet your specific needs, from basic essentials to specialized tools for craft cocktails and mixology.

- **Quality and Reliability:** Prioritize suppliers known for high-quality products that deliver durability, performance, and consistency in service.

- **Customer Support and Service:** Opt for suppliers that provide excellent customer support, including prompt responses to inquiries, reliable delivery options, and responsive after-sales service.

### Implementing Best Practices for Bar Equipment Management

#### Regular Maintenance and Cleaning

Establish a regular maintenance schedule to ensure bar equipment is cleaned, sanitized, and properly maintained. Follow manufacturer guidelines for care and use to extend the lifespan of equipment and maintain hygiene standards.

#### Staff Training and Education

Provide comprehensive training for bar staff on equipment operation, maintenance, and safety protocols. Equip them with the knowledge and skills needed to effectively use bar equipment and deliver exceptional service to customers.

#### Updating Equipment as Needed

Monitor equipment performance and upgrade or replace items as necessary to keep up with technological advancements, improve efficiency, and maintain high standards of service and customer satisfaction.

### Conclusion

Choosing the right suppliers for essential bar equipment is instrumental in enhancing the overall bar experience, from drink preparation to customer satisfaction. By partnering with reputable suppliers like Libbey, Barfly, Waring Commercial, San Jamar, and True Refrigeration, bars can ensure they have the necessary tools and equipment to deliver exceptional service, elevate drink presentations, and meet the demands of their clientele. Investing in quality bar equipment not only improves operational efficiency but also enhances the bar's reputation for excellence in beverage service and hospitality.