#bengtsons

[teenagedirtstache]

[tohakumaru]

july, new pin post for i feel a sort of anchor is required. as always, this just serves as a recap of meandering projects. it's all non-sequiturs and it's all alright.

it's not real estates/postcards from nowhere - we've taken some detours, but slowly & surely we're back in construction. perhaps 3 more inhabitants by next march.

the impossible nomad is walking, will always be. last seen peeking out from the corpse of a roundabout angel, pondering swans and invasive japanese knotweed.

foik bengtson, dead as doorknob, but the fireplace crackles and his head is burning.

weird bird is mostly asleep these days, due to carpal tunnel and screentime withdrawal.

& i hope all is well, even if it's hard. thanks for sticking around!

[gebo4482]

Marvel's Avengers - Black Panther by Brendon Isaiah Bengtson

[sinceileftyoublog]

Oren Ambarchi, Johan Berthling and Andreas Werliin Interview: Winning Concepts

Photo by Thobias Fäldt

BY JORDAN MAINZER

Well, that didn't take nearly as long. A mere two years after releasing the once dormant and eventually critically acclaimed Ghosted, Oren Ambarchi, Johan Berthling, and Andreas Werliin are releasing its follow-up on Friday via Drag City. The trio returned to Studio Rymden in Stockholm last June, with years of performing together under their belt, and laid down the tracks for Ghosted II in a mere two days. Like its predecessor, Ghosted II delves into jazz and drone music, has numerical track titles, and features guitar from Ambarchi that sounds like an organ, album art by Pål Dybwik, and video art by Cédrick Eymenier. Less like its predecessor (though not wholly unlike it), Ghosted II plays with dynamics, is more improvised with minimal overdubs, and roots itself in everything from ambient music to funk. Oh, and its numerical track titles are in Swedish instead of Roman numerals.

Seriously, Ambarchi, Berthling, and Werliin could follow the same four-track formula with the same featured artists every time and I would be more excited with every release. That's how potent Ghosted II is. “en” sports brilliant textural contrasts, pattering drums, scraggly guitar, and barely-there bass, but nonetheless wears a zesty groove. “två” I can most aptly describe as chrome lounge jazz, rife with repeated bass, slow hand percussion, and cold, warbling guitars that pulsate at constantly changing speeds. “tre” is where we first truly hear those inexorable Ambarchi guitar sounds, whirring and shapeshifting with a light chirp and glitch as Werliin's percussion circumvents Berthling's bass. The song sounds like it's traveling through a prickly continuum. And “fyra” ends the set with shimmering ambiance, syncopated bass and drums steady until Werliin jumps into a clattering groove, eventually letting Ambarchi take front and center before the three descend into silence. Ghosted II is the type of album as easy to listen to as it is heady and complex, an achievement that should further this trio's welcome emergence in the experimental music realm.

Oh, and I forgot to mention another similarity to Ghosted: Ambarchi, Berthling, and Werliin once again were willing to answer some questions from me over email about the album. Read their responses below, edited for clarity, including some can't-miss music recommendations.

Since I Left You: How would you say Ghosted II is different from the first record, and how is it a continuation of what you were doing on Ghosted? Oren Ambarchi: I would say that it's a continuation from the first one. The approach in the studio was very similar: We simply got together and improvised with little discussion beforehand. It was recorded very quickly--from memory, all the pieces are first takes, and there was minimal overdubbing.

SILY: How did playing live as a trio inform Ghosted II? When you went in to the recording, did you think of it like a live concert with no audience? OA: Playing live has been really great, as we've been developing our language as a trio from show to show, and this definitely impacted the new one. Like the first trio recording, the vibe in the studio was very relaxed. It was like playing together in someone's lounge room. Personally I tried to approach the new one with newer guitar sounds, many of which I discovered in real-time whilst we were recording. I was hoping my playing would be a little different to the playing on the first record. I didn't want to repeat myself, and I'm sure the others felt the same way regarding how they approached the recording. So the new album is, on the one hand, a continuation from the first album, but on the other hand, it's an exciting new development for all of us. Johan Berthling: I think playing live has merged our sounds together quite a bit. We know each other's playing a lot better. When recording the first album, we had nothing. Now, we have a sound and a foundation we can continue to build on. For me, the studio (could be) a magical environment where all is possible. The live situation has so many parameters that are not controllable, so I want to keep them apart. I never look at recording as a live performance. Andreas Werliin: Playing live in front of an audience is very different from being in a studio recording session.[It has] different energy. It’s weird: The great live shows rarely transform into a good recording. It’s usually too much information. What we experienced when playing live was that we could use much more dynamics than on our albums. In a studio recording, you can use the room and vibe to play less and still keep it interesting, making small changes instead of the big movements we do live.

SILY: Is there something unique about Studio Rymden that fosters creative collaboration? OA: It feels super relaxed recording there, which really suits our vibe and somehow enhances what we are going for. I think we are all inspired by the room at Rymden and play off of the space. JB: It has a really nice living room atmosphere and has all the equipment we need. Daniel [Bengtson], who runs it, is also a great and knowledgeable guy making everyone feel at ease. AW: [It's] a good sounding, very relaxed place. [It] feels like being at a home party.

SILY: Why was it important for you to have continuity between the two albums' visual identities (cover art, music videos)? JB: Why change a winning concept? :) AW: These days, things are moving so fast. Everything and everybody has to change all the time to not lose the audience's attention, both visually and musically. We took the opportunity to go against that movement, I guess.

SILY: What inspired the track titles this time around? OA: Laziness. It's 1/2/3/4 in Swedish. Maybe we'll pick another language when we do another release.

SILY: How did the songs on the first record end up evolving live? Do you foresee these songs having a similar live evolution? OA: Absolutely. It's been really fun expanding on the pieces on the first album in a live context. Those pieces have really gone places. Some live versions of the pieces have lasted 30-40 minutes each. We've already been playing some of the new pieces live, too, and they are already morphing into new explorations that are quite different from the recorded versions.

AW: We developed a new form and used more improvisation and a lot more dynamics.

SILY: What's next? OA: We have some shows coming up as a trio which I'm really looking forward to. I really love playing with Johan and Andreas. My next big show...is a new piece titled "Sous Vide" with conductor Ilan Volkov and the Brussels Philharmonic Orchestra. I'm also hoping to start on a new solo record later this year. AW: I'm excited to release [Ghosted II]. We’re all pretty busy with other projects and family life, so [I'm] just hoping for peace, love, and understanding in general, I guess.

SILY: Is there anything you've been listening to, watching, or reading lately that you've enjoyed or that's inspired you? AW: I would highly recommend Brighde Chaimbeul's album The Reeling (River Lea). She will play live in our village on the west coast of Sweden on July 7th in an incredible church. Much welcome. JB: Lately, I’ve been listening a lot to Howlin' Wolf's Message to the Young and John Lee Hooker and Canned Heat's Hooker 'n Heat. Live, I recently saw a fantastic performance by Evan Parker and Alexander Hawkins in Germany!

OA: [I've been] listening to plenty non-stop, but here's a few recent things that come to mind:

James Rushford's Turzets

An unreleased 1974 live recording of Salamat Ali Khan from Berlin

ML Buch's Suntub (15 love)

Tyshawn Sorey's Continuing (Pi)

Ahmir Khan's Khayal By Ustad Ahmir Khan

RLW's When freezing air stings like ice I shall breathe again (Drag City)

Lenny Breau's Quietude

Eduardo Mateo

Glenn Gould's version of Brahms: 10 Intermezzi

Mikel Rouse Broken Consort

Tirzah

Weather Report's Live & Unreleased

I also just picked up an amazing new remaster of Genesis' The Lamb Lies Down on Broadway, which I've been playing endlessly.

I recently watched Dog Day Afternoon with my 16-year-old last night. It was good to revisit that one. I also recently saw a great UK documentary on Cornelius Cardew with footage of the Scratch Orchestra and AMM. Other than that, it's always Law & Order before bed.

Reading:

Scott McClanahan's The Sarah Book Ian Penman's Fassbinder Thousands of Mirrors Adrian Sinclair & Allan Kozinn's The McCartney Legacy Henry Threadgill & Brent Hayes Edwards' Easily Slip Into Another World Dorothy B. Hughes' The Expendable Man

[sneakersculture]

A history of Basketball in 15 sneakers, un livre incontournable de la sneakers culture

Enfin. Enfin, après tant d’années, voilà un livre sur la sneakers et sa culture qui n’est pas qu’une succession de description, commentaires et anecdotes des quelques modèles hypes. Dans “A History of Basketball in Fifteen Sneakers“, le fond est bien plus instructif. Ici, Russ Bengtson, l’auteur, nous explique l’histoire de 15 modèles de baskets et leur impact en les liant directement au sport…

[mybeingthere]

Mosen Tea Ceremony Cloth, Mongolia for the Japanese Market, 19th century. Felting technique on wool. Collection of Thomas Murray. 

Photograph by Robert Bengtson.

[discluded]

i'd like to share my thoughts on the pfw styling...

going with what you said about MA's market reach and market value, it would make sense why Dior gives them the more "experimental" looks. we saw how a lot of (mostly) western outlets post about MA this time around because they likely saw how much reach their asian counterparts got when they posted MA before.

by giving MA the "less boring" men's looks, Dior gets to show the public their range (like how you can style their runway looks for the streets or events). from what i've observed with them in recent years, their male ambassadors tend to go with classic cuts and silhouettes, usually suits and the like.

while i prefer those looks to what we've seen recently (i liked Apo's outfit but Mile's wasn't doing it for me), i can see why a brand trying to keep relevant would want to dress two of their most popular ambassadors in their "less traditional" designs.

I like this line of thought. A lot of the criticism coming out about current collections in fashion is that they operate thematically (ie, the witch theme for this show) rather than/or more importantly push the boundaries of silhouettes and cuts in the shape of designs

that being said none of the shapes they put on Mile and Apo have ever been novel per se so much as shapes typically not done in Menswear (*edit for clarification: I mean that marrying more traditionally femme silhouettes into menswear rather than putting them into things that could be in women's collections but rebranding it with #male aesthetics like changing the colors to beige, grey, black etc. 😑)

I have a bit more to say, but I'll end with this:

"I hate the term street-wear,” says Kim Jones, who is the artistic director for Dior Men and Fendi womenswear and haute couture. “It’s not a term that I find interesting at all. You can wear couture in the street if you want.” (WSJ, Oct 2021)

and

Hype, created by purely artificial and planned scarcity, keeps the brands front and center, shielded by their vapid and hollow pieties about “democratization of fashion.”

One simple answer is, opt out. In terms of style, go your own way. Don’t let anyone, and especially anyone on Instagram, tell you what’s cool. After a withdrawal, you will find this liberating. And don’t give any validation to the hypebeast sheep. Validation is the engine that keeps the hype economy rolling and the erasure of streetwear culture along with it. Or as Bengtson emphatically put it, “If rich people need to buy expensive, rare shit to feel better about themselves or justify their obscene wealth or just flash their plumage to those who are into that kind of shit, fuck 'em. They're fucking followers themselves. Why follow them?” (The death of street-wear is a class issue, High Snobiety, April 2022)

tl;dr - imo brands are big mad that street-wear was the focal point of particularly menwear for the last 7 years and chased that trend rather than led it as has historically been the role of high fashion houses

Kim Jones in particular seems kind of big mad about it (from my perspective) and now he's trying to create an audience for looks and cuts that aren't there. there is no audience and there won't magically become one for that shapeless frock they put Mile in. street-wear didn't only lead to the democratisation of fashion, it also told people they didn't need to bow to the emperor's new clothes.

[busterkeatonsociety]

This Day in Buster…November 15, 1930

The Reno Gazette-Journal describes Buster Keaton as “among the really big shots of filmdom” as he is having his own studio bungalow built on the MGM lot.  Buster described it as “just a small shack” - well, compared to his Italian Villa what was later known as “Keaton’s Kennel” was modest ;) John Bengtson’s article on the kennel is a must-read: silentlocations.com/2018/09/23/buster-keatons-kennel-on-the-mgm-lot/

[fruiteggsaladit]

Fascinated by the concept of YYH everythings the same but everyone's got sports shoes rather than those weak half-sock-or-"idk a boot?" things

So I'm not a shoe-focused fashion-obsessor, least of all in relation to sports even though I LOVE drawing big sports shoes to jump and run in, but currently this is the vision:

(Note: I'd like to keep these non-anachronistic! Shoes from the 80s, early 90s, or perhaps even the 70s would be good, but I also want to keep in mind WHY they would be having the shoes from whatever year the shoes are from.)

Kuwabara in mostly white 1989 Reebok Pumps, they're so big and pumped?? They look really padded and tall, becoming reminiscent of Kuwa being the biggest and most muscular of the friend group. The 1980 Victory G is also pretty good. The Spot-Bilt X-Press 1986 would also be good!

Key words: tall and bulky (not boots, that's a different genre).

Kuwa strikes me as more economically secure than Yusuke (not rich), and can afford a new pair of shoes if he saves up for them, without much difficulty. Biggest difficulty would be abstaining from buying something else in the meantime.

Kurama is most remembered in his unaltered school uniform - Kuwa and Yusuke are also most remembered in their school uniforms, but theirs have been tailored to fit their own styles and reflect their delinquent streak. Usually having to use the entire arena to attempt to evade attacks and rarely still in motion, I'm drawn towards tennis shoes or shoes with a streamlined design.

Striking me as a sentimental and fashionable person when it comes to his earthly relationships, I think he takes care of his shoes very well. It could be cute if he and his step-dad began a shoe-collection hobby together? But that's fanfic territory and we're trying to keep to headcanons.

Here, a Nike Air Pegasus (1983).

Another word coming to mind is "boring". I think if Shiori had never grown ill, Kurama would not have gotten as involved with the demon realm or spirit office as much as he does in canon (where are the canon divergence fics about Shiori never getting sick. pls, I want canon divergence yyh fics and concepts).

I don't know how successful he is about trying to pass himself off as human as humanly possible, but I do think he tries. He won't sabotage his own grades of course, he will try to be the best son possible, but to be a good person in any society is to fulfill social requirements, and part of that is not sticking out like a sore thumb.

Hence, rather boring shoes.

Keywords: Low/average collar; streamlined and "boring" shape. Outsole should be like an arrow, at the most extreme of stylisations. Colours don't stand out.

Nike or adidas, I think. Sneakers?

Oooh these Adidas Brougham shoes are really neat! Finally I like a design that doesn't have navy-orange combo! The sole is very ominous... it gives a little bit Imperial Japan vibes to me bc of the red circle here, but it's not enough that I think it'd read as a whistle in terms of character design. It is a good reminder though to think about the sole of the shoe, though. The characters jump around a lot, having something more exciting than a solid colour for the sole would be good.

The Diadora Maverick 1987 would also be good! Oh wait there's Italy, fuck that... on the other hand,

"An archetype of preppy cool, the Maverick held as much cultural weight as any tennis release from Reebok, Nike or adidas. Due to fickle tastes and the advent of tech shoes as status symbols, this would be Diadora's finest moment." (complex.com, Russ Bengtson, Gary Warnett, Nick Schonberger)

Isn't that very Kurama? And nothing is keeping the boy from customising the shoes. A boring shape, with colours that don't stand out, but with minute details that he alone or an observant friend might appreciate.

References:

www. 80sfashion.org/popular-shoes-of-the-1980s/ www. liveabout.com/the-8-coolest-running-shoes-of-the-1980s-3019213 www. complex.com/sneakers/a/russ-bengtson/the-80-greatest-sneakers-of-the-80s // retrobok.wordpress.com/2011/07/27/hall-of-fame-80s/ // inthe1980s.com/80s-shoes/

[wadbot]

chaosrsh.wad: Chaos Rush v1.0 MAP39: CHAOS RUSH (688, 0, 128) Author: J.C. Bengtson (SailorScout) Date: 1999-05-16 Description: I created this back in 1997 as an experiment to learn the new features of Hexen. As you can tell by the rather square nature of the map, I started playing with Hexen right after I finished WATRCITY.WAD for Heretic. The map consists of a central icey area which branches out and expands as you proceed to hit switches, though there aren't that many. I made this to learn many of the features present in the original MAP39, so there are one or two things (such as the crushers) which should only kill you if you're really crazy and run under one. :) I'll admit, this level is short, hard, and not for everyone. Try playing not only on varying skill levels, but also with different classes. It's considerably harder to complete with the Fighter then it is with the Cleric, and the Mage has a fair time due to his distance weapons. The enemies vary by class too, so bear that in mind as well. This makes a great DM map, as there's a nice amount of supplies but not too much to make any one class overbearing. It's hilarious to see an enemy chase after you with a much more powerful weapon, only to be frozen solid by the ice shards in the central area of the map. Use this section to your advantage! Finally, thanks to the freaky numbering in the retail Hexen maps, this is MAP39 but you'll need to do a "-warp 30" on the command line, NOT "-warp 39".

[moochilatv]

Julia Logan presents: Moodswings

It's a peaceful song

Sincere, warm, energetic and dreamy folk-pop made in close collaboration with First Aid Kit’s producer, Daniel Bengtson (Also produced M. Ward, James Yorkston, Dina Ögon, Viagra Boys).

This is the third single to be released by Julia’s new label Dumont Dumont (RY X, Charlie Cunningham… plus the label founder is behind artists like José González).

She has toured with artists like Neko Case, Sara Klang, Madison Cunningham. Will be touring the Fall of 2024 and Spring/Summer of 2025.

About Moodswings:

Producer and co-writer: @studiorymden Label: @dumontdumont Drums: @laaaaaaaaaars Mixer: @studiorymden Master: @hansolsson_ Photo and artwork: @olofgrind

View this post on Instagram

A post shared by Julia Logan (@juliamlogan)

Her new album 'Faraway Nearby' is set for November 1st.

The album is now available to pre-order on vinyl and digital.

[karaokulta]

🎮🎯 Richard 'Faze Banks' Bengtson, la mente maestra detrás de Faze Clan, ha dado un paso titanico incrementando su dominio en Faze Media. Ahora, con un impresionante 31% de control, nos deja pensando, ¿qué tiene bajo la manga? 🎩🐰 👀 Aquí mis predicciones y comentarismos juguetones sobre este movimento estratégico: - 💸 Con una adquisición del 25.5% adicional en Faze Media, Bengtson está claramente invirtiendo en su visión original del poder de los contenidos y la comunidad de creadores. ¡Nada dice creo en esto más que invertir tu propia pasta! - 🚀 Esperen una explosión aún mayor en estrategias de contenido innovadoras. Bengtson ya no está jugando juegos, está escribiendo las reglas. 👉 Pero aún con esta jugosa escalada, GameSquare mantiene sus garritas afferradas en la mayoría controladora. Estoy seguro que: - 📈 GameSquare confía en la nave de Faze Media para pilotar hacia horizontes prósperos. En plena era del entretenimiento digital, es una apuesta inteligente mantener esa estabilidad y crecimiento continuo . - 🤝 Esta colaboración sugiere nuevos y fascinantes proyectos, cada uno prometiendo más picante que un chile habanero, especialmente tras el remezón empresarial con la reducción de personal este año. Entonces, amigos y amigas, ¿qué opinan ustedes de esta maniobra de Bengtson? ¿Arriesgado movimiento o jugada maestra? 👾🧐 Dejen sus predicciones, preguntas o simplemente etiqueten a ese compa que siempre anda en las últimas de esports y media. ¡Vamos a darle sabor a esta conversación! #FazeClan #FazeBanks #GameSquare #esports #contenido #estrategiaycrecimiento #innovaciónencontenido 🕹️💡🏆

[mirandamckenni1]

This Disease is Deadlier Than The Plague All Links, sources & further reading: https://ift.tt/BuYh8Cb This video was made possible through a grant by Gates Ventures. The white death has haunted humanity like no other disease following us for thousands, maybe millions of years. In the last 200 years it killed a billion people – way more than all wars and natural disasters combined. Even today it’s the infectious disease with the highest kill count. But what is this horrible disease? OUR CHANNELS ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ German: https://ift.tt/sizW9f4 Spanish: https://ift.tt/aB4cOzV French: https://ift.tt/KhzlgFR Portuguese: https://ift.tt/clCHd97 Arabic: https://ift.tt/IYMAiCE Hindi: https://ift.tt/yBLifRF Japanese: https://ift.tt/v0JRsLD Korean: https://ift.tt/jJ4tcCg HOW CAN YOU SUPPORT US? ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ This is how we make our living and it would be a pleasure if you support us! Get Products designed with ❤️ https://shop.kgs.link Join the Patreon Bird Army 🐧 https://ift.tt/9Xcw8YH DISCUSSIONS & SOCIAL MEDIA ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ TikTok: https://kgs.link/tiktok Reddit: https://kgs.link/reddit Instagram: https://ift.tt/L3ErzJi Twitter: https://ift.tt/rzJAcHo Facebook: https://ift.tt/7xMtOQy Discord: https://ift.tt/eFNUoX4 Newsletter: https://ift.tt/rI8ACjL OUR VOICE ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ The Kurzgesagt voice is from Steve Taylor: https://ift.tt/JfOevV4 OUR MUSIC ♬♪ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ 700+ minutes of Kurzgesagt Soundtracks by Epic Mountain: Spotify: https://ift.tt/new6PyJ Soundcloud: https://ift.tt/RS3tKZU Bandcamp: https://ift.tt/f7Y1Tgo Youtube: https://ift.tt/xvAdFpP Facebook: https://ift.tt/BLEoxOA The Soundtrack of this video: SoundCloud: https://bit.ly/3xHijno Bandcamp: https://bit.ly/4eDFhMO If you want to help us caption this video, please send subtitles to subtitle@kurzgesagt.org You can find info on what subtitle files work on YouTube here: https://ift.tt/gfOZabS Thank you! 🐦🐧🐤 PATREON BIRD ARMY 🐤🐧🐦 ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Many Thanks to our wonderful Patreons (from http://kgs.link/patreon) who support us every month and made this video possible: Rick Mildebrath, Uriel Perez Villegas, Nate Pitts, Earth2.0!, Maik Seifert, Richie C, Angela Hartmann, Matthew Deane, Orobas, Crazy Nilo, Z00, Jay Morrow, Nightmare Punches, Sputnik, Aziz A, Justin Silagyi, William porter, Mishell Steel, Michelle Cruz, Mystari Alyssa Endris, UglyBagOfMostlyWater, Nico Holzer, Oekida, Max Castonguay, damir randic, King Pin, Max Santmire, Bishop, schoenbrunn, isaiah watson, Ismael TR, Takuneru, Malek Sabra, H, Jorge Limon-Ramirez, Robbie de la haye, Kasper Bengtson, Dmitry Dimov, Joseph Mixon, Kristian Vizcarra, Pilier51, Logan J McMillan, Maximilian Gruber, Tobias Arlt, Itamar, Gretchen Bonasera, Marco Sawaya, Sinmis077, Tung Vu, Tanya, LukeOnTheBrightSide, Giovanni Rizzo, Dylan Gonzalez, Benjamin Guan-Kennedy, Dan, Sam Hecht, Petter Sælen, Emile Ponson, Dan Sauer, Volo Herzon, The_Party_Octopus, Felix Parey, Dillon Hearne, Peirce Ellis, EstefaníaDelSol, Mick_Holtel, Viz, David Grivel, Christine Gunter, Craig Brennan, Nicolas, BerniNotFound, Nico Cronan, Will Garmon, KatzeLP xx, Tom Bricaud, Zakariaâ Rida, Jessie-Naomi Horsman, Arthur H. Sakamoto, Damien Burley, blarglenarf, William Sharkey, skibur, Blaze Lumini, Generic panda, Ethan Salafsky, Charles Vane, The Scoot, Rachel Alexander, David DeBroux, Carly via YouTube https://www.youtube.com/watch?v=GFLb5h2O2Ww

[savefilescomng12]

What's FaZe Banks's Net Worth? FaZe Clan Founder

"We're cutting all kinds of people. We're cutting the roster down significantly," FaZe Banks said of FaZe Clan.

Esports group and content creation house FaZe Clan has been on a significant rollercoaster ride since its creation in 2010. The group has seen a plethora of creators come and go, with some leaving of their own accord and spilling about the drama behind the scenes, while others were kicked out of the group.FaZe Clan's founder and CEO, FaZe Banks, has seen his fair of drama and controversy over the years. But despite the negativity following him, he continues to be successful. What's his net worth?Article continues below advertisementArticle continues below advertisement

What is FaZe Banks's net worth?

Banks was the man behind the creation of one of the most well-recognized esports groups, FaZe Clan — but he actually doesn't own the company. According to a recent Instagram post made by the influencer, he was written out of the company early on in its lifespan and has only recently gained ownership.Article continues below advertisement"10 years of stress and anxiety and being fkd around. 10 years of sleepless nights tossing and turning wondering if I’d ever get what was owed to me. 10 years worth of votes, decisions, moves made that I wasn’t a part of and had no say in," he wrote. "I’ve never had a real say in anything FaZe has ever done. How crazy is that? And finally, after years and years of struggle and stress, I got my company back."According to Celebrity Net Worth, Banks is currently worth around $13 million. Much of this wealth seems to come from his independent channels (which are connected to the FaZe Clan brand) and his individual business ventures and partnerships outside of his eponymous content group. That said, it seems as though Banks officially has a bigger share of FaZe Clan now, so expect this number to change as a result of the brand's recent reboot.Article continues below advertisementRichard "FaZe Banks" BengtsonContent Creator and FaZe Clan CEORichard "FaZe Banks" Bengtson rose to prominence online through his gaming videos, eventually starting CloutGang before becoming the CEO of FaZe Clan. He was also known for his internet feud with Jake Paul after he started dating Jake's ex Alissa Violet.Birthdate: Oct. 18, 1991Birthplace: Lawrence, Mass.Birth name: Richard BengtsonRelationship Status: In a relationship

FaZe Clan is changing its image — and FaZe Banks has some big plans.

Though FaZe Clan has grown to be one of the biggest esports and content creation groups online right now, the brand's focus has become incredibly muddled as its expanded. At its peak, FaZe Clan reportedly employed around 140 people — but the group now only consists of about 30 employees.In an interview with Drama Alert, Banks shared that FaZe Clan is getting an overhaul, and part of that has been significantly cutting down its roster.Article continues below advertisement"We're cutting all kinds of people. We're cutting the roster down significantly," he said. "We had something like 140 employees this time last year, I think we have 30 right now. I want to cut that down even further to like 10."But firing people isn't the only focus of the brand's redesign. He said that the brand is going to focus on gaming again, narrowing down its clients to a select few who fit the direction Faze Clan is taking."I firmly believe that as long as the brand is taken care of, as long as the people who are part of the brand, that roster of 10 people, are all on the same page, have the same focus, have the same vision, and are incentivized the right way — like us paying members to put FaZe in their name and have that be the relationship, it doesn't work," he said.Depending on how this redesign goes, Banks could find more money in his pocket if the choices become lucrative. Source link Read the full article

[hookeaudiocom]

What is FaZe Banks Net Worth 2023: Wiki, Age, Weight, Height, And More - Hooke Audio

Faze Banks, born Richard Bengtson, is an American YouTube star, internet personality, and co-founder of FaZe Clan. As of 2022, Faze Banks' net worth is estimated to be around $8 million.

Banks began his career in 2011 by posting videos of himself playing Call of Duty. As his channel grew in popularity, he worked to build up the FaZe clan brand which originally started as a trickshotting community. Under his guidance, FaZe Clan expanded into multiple divisions including gaming, lifestyle, and entertainment. The organization now has over 300 gaming influencers signed across various titles.

In addition to growing one of the largest social media brands in the world, Faze Banks has diversified his income streams. He releases numerous merchandise lines annually through the FaZe Clan store #hookeaudio. Some of his most popular items include hoodies, t-shirts, hats, and collectibles. Banks also stays active on YouTube with over 4 mill - 4mbwqgigds

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Rose Rivera, “Magnificent Madagascar Recipes”, 2022.

John D. Bengtson, “Edward Sapir and the Sino-Dene Hypothesis”, 1994 was the topic of an earlier blog post.   Here I present: Rose Rivera, “Magnificent Madagascar Recipes”, 2022. The book consists of an Introductory and Conclusion chapters with thirty (30) recipes in between. The “table of contents” is shown BELOW of the thirty (30) numbered recipes.  Recipe number three (#3) “Malagasy Meat and…