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anotherghoul666 · 1 year

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Under Our Black Cult tour primer

@battiestbelfry as promised my dear! Now, I don’t have info on Gaerea yet because I don’t know them yet, Imma deep dive in the next few days. But the other 3 bands on the bill I know well, so here we go!

Under the read more: primers and my personal opinions on the bands Uada, Carach Angren and Rotting Christ. Song and album recommendations to start off. And the mask kink thing, with pics. 3/4 of the bands on this bill are or can be confidered masked bands, you know I gotta touch on the mask kink in there!

UADA

Uada, which means “haunted”, are a melodic black metal band from the United States. They are based in Portland, Oregon and have been active since 2014. They are currently signed to Eisenwald records, an independent music label from Germany. In this house we love and support independent labels! They are specialized in black metal and have a very fun roster.

Uada have 3 releases out so far, all full length albums. They don’t do singles, they don’t do demos, they don’t do splits, they don’t do EPs. They make full albums and drop them on a roughly 2 years cycle, though with the pandemic we are at 3 years since the last record, so these mysterious hooded figures are ripe for new material! Their debut album Devoid of Light in 2016 was well received by the metal world as a promising debut, albeit very classic black metal that didn’t surprise much. 2018’s Cult of a Dying Sun seems to be their album with the most acclaim. The sound quality difference between these two is astounding. The tracks tend to be longer, which helps some songs and doesn’t help others. 2020’s Djinn is their latest release and the reception’s been this: Djinn is way more niche, as in, you have to be down for 14 minutes atmospheric black metal songs to like it, but if that’s your vibe? It’s fucking good. Quality up, marketability down. They still don’t do anything super different, but it’s good black metal. It feels like European black metal despite being American, which is what I love, because I’m intensely biased towards the EU scene. US bands have to be either 1)extremely fucking special or 2) European-sounding to get in my good graces XD

The guys are “masked”, in the sense that they play with hoods over their faces with the aim of not being seen, for atmospheric purposes:

They also do “the hand thing” when taking pictures.

But they’re ok being approached in public by fans, as long as you don't pressure them to take a pic with their faces showing. They are not anonymous, their names are out there if you wanna know.

As far as recs go, I would rec all of the albums honestly cause it’s less than 3 hours of music and there’s nothing truly bad in there. My favorite album personally is Djinn but that’s because I fucking love atmospheric albums that make me lose track of time. I’m aware that’s not everyone’s cup of tea xD So, to my previous recs of Devoid of Light, Black Autumn White Spring and Cult of a Dying Sun, I’d add all of Djinn, but specifically the title track and In The Absence of Matter as a first contact.

CARACH ANGREN

Carach Angren are a symphonic black metal band from the Limburg province of the Netherlands. They’ve been active since 2003 and they’re currently signed to French label Seasons of Mist, one of the few major metal labels I feel positively about! The Seasons of Mist roster is INSANE. They specialize in the darker genres of metal, black, death, gothic, doom and some prog. Many of my favorite bands have been on them through the years.

So. Listen. Carach are one of my absolute darlings in the black metal world. When I began my exploration into black metal in the early 2010s, their first three records have been instrumental in making this genre my favorite. I would not be where I am today without them. I will forever have a very special in my heart for these guys. I hung out with them several times, I’m attached, ok? But. And there’s a huge But. Dear fucking god did these guys fall off. I’m still reeling from how perfect their music used to be, and how fucking atrocious the output has been since 2015. In my opinion. These primers are only my personal opinions and ramblings ok XD They’re doing fine, their latest albums did get decent reviews which I? Don’t understand? But you do you, boo? XD They’re one of the big names in black metal right now, they’re headlining tours, they’re doing good on the new material ok. But I can’t fucking stand it hahaha.

The main problem for me was the vibe shift. Carach Angren’s themes are horror stories. They recount fantastic tales of horror, fright and gore, psychological horror, body horror, historical horror, the like. The storytelling in their first three albums is stunning. There was always a sense of realism there, of horror being grounded in reality. It’s classy, it’s tasteful, it’s striking and horrifying but it’s never cheap and nothing is played for shock. 2008’s Lammendam is about “true stories” in a 1700s an 1800s backdrop, a historical version of our “I heard from a friend of a friend that…”, tales from the crypt and all that. Ghost stories that we’ve heard before, la Dame Blanche for example, but set to music. 2010’s Death Came Through a Phantom Ship is about nautical horror. Historical stories of phantom ships, captain-less ships, mutinies and their disastrous bloody consequences. It’s so grounded. Their masterpiece, 2012’s Where the Corpses Sink Forever, is about the horrors of war. We follow soldiers in trenches, feel their desperation, their fear of death yet longing for it. The heart-wrenching beauty to be found on battlefields because they are so human, yet the absolute bone-chilling reality of it. It’s so fucking real. This album, no joke, is one of the best albums I have ever heard in my life. It’s a 10/10 record for me, and I do not give out 10/10 easily. I’m rather critical. I have less than 20 albums that I’ve ever rated as perfect in my life, and this album is unanimously recognized as the pillar of this band, and one of the pillars of symphonic black metal altogether. This is one of the albums that made black metal click for me. It changed everything.

And then, there was a tonal shift. I suspect, coming off from such a resounding success, the band didn’t know how the fuck they could live up to it, and they crumbled under the pressure. 2015’s This is no Fairytale is, as the title suggests, bases in the Grimm fairytales. It’s a weird modern retelling of Hansel and Gretel and like. Yeah. It started to get cheap. The language used in the lyrics shifted. There’s a ton of unnecessary cursing all over this album, graphic depictions of SA, p*dophilia, incest, drugs abuse and overdose, and like, yes, Hansel and Gretel is a tale about child abuse, of course, but there’s a way to approach those topics you know? With feeling, with emotion, with realness, and here it just feels cheap. Ghastly “twists” are constantly played out for shock value, it’s surface, it’s plastic-y. The stage show changed from refined hustorical costumes and atmospheres to, like, female-bodied mannequins being dragged around and getting their throats cut on stage with copious amounts of fake blood, and for what? It’s just, tasteless now. The band lost its delicacy. That’s where it started to feel cheap, and it only went downhill from there. 2017’s Dance and Laugh Amongst the Rotten is a joke. Legit, this album sounds like a joke. The songs are boring, uninspired, structure-less. The lyrics are so cheap. It’s like we went from a museum quality horror painting that moves and inspires, to a cheap clown trying to be scary at a kid’s birthday party. 2020’s Franckensteina Strataemontanus was very “meh” to me. Less offensive than the previous two, and the story is inspired by classic horror literature like Mary Shelley and the strange scientists that inspired her Frankenstein. There’s potential, but the magic is dead for me. Bad taste in my mouth. I can’t do it anymore, but maybe a fresh pair of ear that doesn’t have the baggage I have with this band will like it? You let me know.

In this context, you’ll understand why my recommendations will only be from the first three albums. If you want to go for it, just listen to all three. There are no duds in any of them. But for specific songs, from Lammendam: Haunting Echoes from the Seventeenth Century, The Carriage Wheel Murder, Heretic Poltergeist Phenomena and my absolute favorite La Malédiction de la Dame Blanche. From Phantom Ship: The Sighting Is a Portent of Doom and Bloodstains on the Captain's Log. From Corpses? Listen to the whole thing man. For real. It’s a concept album, so grab the whole thing, sit down, close the lights, get the lyrics out, and follow along. Prepare to be sobbing by the end. I could recommend every single song, but they hit so much more powerfully within the context of the story.

In terms of aesthetic, there guys are “masked” in the way that they have a very unique look of corpse paint (the face paint typical to black metal).

They coined this look, not corpse paint as a whole, but their style of it. It’s been copied a million times since (like by Cradle of Filth notably, though they'll argue to the ends of the world it wasn't copied. It looks the exact same, it's a bit ridiculous), but it was Carach who did it like this first. The band members have character names, though they are not anonymous. Their real names are out there, but on stage, they’re not themselves, they are Seregor and Ardek (Namtar used to be their drummer. He quit in 2020. I have no clue how the band will record anything else in the future without him because he was the CORE of the band for me. Absolute drummer crush. I digress.) Seregor is a hobbyist mask maker and he makes masks for his different characters from his stories, like these:

Imo they still hit on the mask kink somewhat. The guys on and off stage feel like they are radically different people, and to have met them masked at the end of a show and unmasked at more proper events, there’s a world of difference in the vibe. I love it.

Oh also they have spawn a good few big metal memes like this one XD :

Which they found funny enough they turned it into a shirt XD :

(and yes of course I have one hahaha)

ROTTING CHRIST

Rotting Christ are a seminal band in black metal’s history. They have been at it for 36 years under the Rotting Christ banner, 39 years if we count the first iteration of the band under a different name. Dare I say it? I’ll say it. They’re the black metal daddies. I’m so sorry, I said it, it’s out there now XD They are daddy and I don’t make the rules. Anyway! They’ve been active since 1987, as I said, and they are signed to, yep, Seasons of Mist. I wasn’t kidding when I said this label’s roster is nuts. They are from Athens, Greece and they’re more towards the melodic / gothic side of black metal. They influen ced black meal heavily because this early in the 80s (black metal as a genre really kicked off in the 90s), there were no other bands who did what they did, and especially not in Greek. Rotting Christ have a lot of songs in Greek, in Latin, later in their career they made songs based on Hindu mysticism, their lack of fear when it comes to singing in everything but English at the time was genre defining. They made many songs in English since, but man the ones in Greek just hit different you know? They changed the game before the black metal game was even a thing.

Currently there are only two original members left in the band, brothers Sakis and Themis Tolis, vocals/guitar and drums respectively. Everyone else right now are tour musicians or session studio musicians. As their band name suggests, their themes are of anti-christianity, satanism, occultism of many different cultures, mysticism, it’s all good shit. One more band we traumatized christian kids can heal our religious trauma through, weeeee!! They have 13 full length records out, their latest one being The Heretics from 2019 (we are starving from new material, please feed us) though they haven’t paused during the pandemic, re-recording older material and releasing compilations instead. There was a new single in 2022 called Holy Mountain, and I hope and pray that means new album soon. Sakis Tolis also released a solo project in 2022, Amongst the Fires of Hell, which was fucking DELICIOUS my dude. More laid back, but so fucking crunchy. Highly recommend if you feel their sound.

In terms of recommendations, you’re in luck because they released a massive best of for their 30th anniversary called Their Greatest Spells: 30 Years of Rotting Christ. That’s the must-listen. If you want into this band, start here. You’ll get a taste of the sound of every single full lenght that came befoee. It’s 2 albums, 33 songs: find your favorites, check which album they're from, and go from there! Non Serviam, Grandis Spiritus Diavolos, In Yumen-Xibalba, Kata Ton Daimona Eaytoy, everything’s on here, besides my personal favorite song of theirs, Apage Satanas. It’s a weird chanty, trance-y song but it’s the one that made me fall in love with the band. It scratches at something deep inside my brain idk.

Rotting Christ are not masked, nor is there an aesthetic to latch onto, really. They’re just cool dude doing cool things and doing their part spreading the message. They’re honest and raw. No frills. What you see is what you get. They’re the OG.

And that's the bill! Lemme know if you listen to anything and if the bands catch your interest :D

#asks #band primers #metal band primer #uada #carach angren #rotting christ

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conjunolivll · 6 months

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Finaliza la primera temporada de Richard Carapaz en EF Education-EasyPost

Richard Carapaz, que alguna vez fue uno de los mejores corredores del equipo INEOS, se unió a EF Education-EasyPost antes de la temporada de este año. Muchos aficionados que conocen a Richard Carapaz verán su nueva equipacion ciclismo rosa. Este año es la primera temporada de Richard Carapaz con EF Education-EasyPost y ha demostrado una gran competitividad en el equipo.

A la carrera de Richard Carapaz no le han faltado campeonatos. Es el ganador de la Vuelta a Italia 2019. Muchos aficionados recuerdan que el campeón del Tour de Francia de 2019 fue Egan Bernal y el campeón general del Tour de España de 2019 fue Primož Roglič. El equipo INEOS pudo hacer maravillas en 2019, con sus corredores ganando dos Tours. Sólo en la Vuelta a España el equipo INEOS perdió la oportunidad de competir con Primož Roglič por el campeonato. Los fanáticos de las carreras han visto a Jumbo-Visma crear milagros en las carreras de ruta este año. El equipo INEOS estuvo una vez a sólo uno del Tour Championship. Richard Carapaz participa activamente en muchas competencias de EF Education-EasyPost y también ha logrado una serie de resultados notables. Richard Carapaz ha demostrado su capacidad y profesionalidad para finalizar a la perfección su primera temporada con el nuevo equipo.

La maillot EF Pro Cycling se ha convertido en la nueva tarjeta de presentación de Richard Carapaz, y sus fans deben adaptarse al nuevo color. Como piloto de primer nivel, participó en un total de 16 eventos importantes. El Tour de Francia de este año es el evento más lamentable para Richard Carapaz. Enfrentó una grave caída en su primera temporada. En la etapa siguiente, Richard Carapaz se retiró anticipadamente debido a una grave lesión. Este fue su evento más lamentable del año.

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antonio-velardo · 11 months

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Antonio Velardo shares: Tour de France: Vingegaard vs. Pogacar Is the Race to Watch by Kevin Draper

By Kevin Draper The 110th edition of cycling’s greatest race begins Saturday in Spain. Here’s a primer on the stars, the squads and the story lines. Published: June 29, 2023 at 03:15AM from NYT Sports https://ift.tt/qBdZlGn via IFTTT

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#antonio velardo #IFTTT #NYT

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julio-viernes · 1 year

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"Time Machine", segundo corte del segundo LP de Sadistic Mika Band, "黒船 Kurofune (“Black Ships”)", una fantástica muestra de glam rock japonés con un poco de Hawkwind añadido. Gran producción de Chris Thomas (Pink Floyd, Queen, Roxy Music, Badfinger, Sex Pistols, Pretenders, etc...).

El origen de Sadistic Mika Band (nombre que parodiaba a Plastic Ono Band) hay que buscarlo en Kazuhiko Katō, que se mudó a Kensington, Londres, en 1972 e impresionado por la floreciente escena glam rock formó un nuevo grupo en Japón para emular su estilo. La formación original incluía a Katō, Mika, el baterista Hiro Tsunoda y el guitarrista principal Masayoshi Takanaka, y grabó el sencillo "Cycling Boogie" en 1972 lanzado en Donut Records, el primer sello privado de Japón, fundado por Katō. Posteriormente, Tsunoda fue reemplazado por Yukihiro Takahashi, y el bajista Ray Ohara se unió a la banda. Esta formación completó el LP debut homónimo de la banda, lanzado por el sello Harvest.

Katō le pasó el álbum a Malcolm McLaren, quien en ese momento ya tenía una tienda con Vivienne Westwood, y éste a su vez a Bryan Ferry, a cuya banda Roxy Music la SMB telonearía más tarde en la etapa europea de su Siren Tour 1975-76.

#sadistic mika band #chris thomas #malcolm mclaren #bryan ferry #roxy music #hawkwind

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signsgreys · 2 years

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ozarkhealingtraditions · 3 years

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Four New Virtual Classes Coming Up!

Using the Farmers' Almanac in Ozark Folk Magic and Healing

Date: September 18, 2021 Time: 4-6pm CDT Purchase tickets here This is a virtual class. A Zoom meeting link will be emailed to participants the day before the event. All ticket holders will receive a link to download a recording of this class after the event. The Farmers' Almanac has been a staple book of many hillfolk households for centuries. As one of my teachers told me, “Used to folks only needed two books: the Bible and the almanac.” But the uses of the almanac extend far beyond just predictions of annual weather patterns and calendars of holidays. For Ozark healers and magical practitioners, the almanac still offers the “best days” to perform certain rituals and healing acts based on cycles of the moon and zodiac. In this class we will be looking at how the almanac can still be a useful magical guidebook today and discuss methods of incorporating magical timings into your own practice.

Tell the Tombs: Graveyard Magic in the Ozarks

Date: October 30, 2021 Time: 4-6pm CDT Purchase tickets here This is a virtual class. A Zoom meeting link will be emailed to participants the day before the event. All ticket holders will receive a link to download a recording of this class after the event. The graveyard has always been an important part of Ozark folk magic traditions. In the old days, this was where a witch could be born from an ordinary human and where the “veil” between worlds was constantly thin. Graveyard work isn’t just for the spooky ritualist but has been a site for the work of healers as well. For many Ozark practitioners, historic and modern, healing work includes not just serving the living but also the dead. These shades often figure as guides, guardians, patrons, and ancestral helpers in many healer stories as well as aids in the process of healing or “elevating” the restless dead as well. In this class we will be examining Ozark folklore situated in the graveyard as well as look at some of the many ways healers and other magical practitioners have incorporated this all-important work with the dead into their own lives and rituals.

A Guided Tour of Ozark Folk Magic: Plants, Prayers & Healing

Date: November 13, 2021 Time: 4-6pm CDT Purchase tickets here This is a virtual class. A Zoom meeting link will be emailed to participants the day before the event. All ticket holders will receive a link to download a recording of this class after the event. Ever since my book Ozark Folk Magic: Plants, Prayers & Healing was released earlier this year I’ve received requests for a class based in the book itself. Well, here we go! In this class we will be taking a guided tour through the pages of the book and delving deep into this complicated magical system that’s often hidden behind a deceptive mask of simplicity. In this process, I will be providing more comprehensive explanations for many of the more difficult concepts to understand as well as providing a glimpse into my own personal development as a practitioner and how I’ve managed to bring traditions of the past into the modern world.

The First Spellbook: Ozark Bible Magic

Date: December 11, 2021 Time: 4-6pm CDT Purchase tickets here This is a virtual class. A Zoom meeting link will be emailed to participants the day before the event. All ticket holders will receive a link to download a recording of this class after the event. Note: while we will be using the Bible in this class, it will not be taught from any specific religious perspective. All are welcome. Along with the almanac, the Bible was often the only book owned by Ozark hillfolk until the modern era. At one point in our past, the Bible was the source not only of spiritual teachings, but also a combination reading primer, divinatory system, and spellbook. In this class we will be looking at the position the Bible has held in Ozark traditions of healing and folk magic. In many cases, hillfolk families might not have had a spiritual connection to the Bible but still recognized the text as a valuable text for working magic in the world. We will be looking at verses and passages that have long histories of use in the Ozarks for specific purposes like healing, protection, retribution (or cursing), as well as love and money magic. We’ll also look at rituals that have developed amongst hillfolk using these biblical texts as well as using the Bible itself as a magical object or talisman.

#ozarks #folk magic #traditional witchcraft #witchcraft #ozark folk magic #ozark healing traditions #ozark folkways #ozark magic #ozark folk medicine #traditional healing #traditional medicine #folklore

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residentgoodgirl · 5 years

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Chances are that you know what made Lorena Bobbitt famous in 1993, even if you aren’t old enough to have experienced it in real time. Just over 25 years ago, Lorena — who now goes by her maiden name, Lorena Gallo — cut her husband’s penis off in the middle of the night, driving away with it and throwing it into a field. The trial and media coverage were sensational, as you might expect them to be around any penis-chopping case — and Lorena’s story became a punchline, an oddity, a way to consider supposedly hotheaded Latina women.

Amazon is now premiering a four-part docuseries about her, aptly called Lorena. The documentary, produced by Jordan Peele, covers the trial, of course, but also explores the context around it that people have largely forgotten, or never learned to begin with: the ways Lorena’s husband, John Wayne Bobbitt, allegedly abused her; the cruel treatment she received from the media, her tender age (she was 24 years old); and how this case brought the issue of marital rape to the forefront for the American public.

The timing is excellent, if a total bummer. The embers of the #MeToo movement are still burning, marital rape continues to be a surprisingly controversial topic for the courts to grapple with, and everyone is still afraid of immigrants. Lorena is compelling and well-made, a narrative that focuses both on the salacious details of the case (wanna see a severed dick? Girl, you got it) and Lorena’s activism in preventing domestic violence and sexual assault. It acts as both a historical primer for those who didn’t live through Lorena’s trial and a rectification for the way she was treated, not just by her husband but by late-night talk show hosts, journalists, and the public. “The media was focusing only on the penis, the sensationalistic, the scandalous. But I wanted to shine the light on this issue of spousal abuse,” Lorena told Vanity Fair in an interview this past summer.

As a documentary that reassesses a notable ’90s scandal with the benefit of a couple decades’ hindsight, Lorena is one among many recent examples. And these retrospectives tend to fit a similar pattern: We are asked or encouraged to reconsider a woman whose public image was linked inextricably with a man’s bad behavior, whose reputation was destroyed while the man got away relatively consequence-free.

2013’s Anita was a reconsideration of Anita Hill’s allegations of sexual harassment against then–Supreme Court nominee Clarence Thomas. The documentary recast her not as an angry black woman trying to keep a man from his deserved job, but a reserved, smart attorney who merely told the truth about a man about to be given a tremendous amount of power. (Sound familiar?) 2014’s The Price of Gold gave Tonya Harding room to tell her version of the story of her career and the 1994 attack on Nancy Kerrigan, replete with class context and details about her own abuse.

The 2016 documentary O.J. Simpson: Made in America, though primarily about Simpson, also forced audiences to rethink how his murdered ex-wife Nicole Brown Simpson was treated by him and by the press. And 2018’s The Clinton Affair included an interview with Monica Lewinsky herself about her affair with President Bill Clinton — long considered a salacious sexual scandal, with Lewinsky cast as a slut trying to fuck a powerful man — and reframed the incident as one in which a young intern was seduced (and then thrown under the bus) by the goddamn president, who should’ve known better.

These reconsiderations aren’t limited to documentaries. In June, journalist Allison Yarrow published the book ’90s Bitch: Media, Culture, and the Failed Promise of Gender Equality, which includes Hill, Harding, Lewinsky, and Lorena in telling “the real story of women and girls in the 1990s, exploring how they were maligned by the media.” Podcasts like Sarah Marshall and Michael Hobbes’ You’re Wrong About… also serialize reassessments of history, often focusing on women mired in scandals. They’ve done episodes on Amy Fisher (the “Long Island Lolita”), televangelist Tammy Faye Bakker, Lindy Chamberlain-Creighton (the “dingo’s got my baby” woman, who never actually said that), Courtney Love, and Lorena herself.

“America is going through this period of realizing how much we misread what was right in front of us,” says Marshall. “We came to the realization that we elected a reality TV president. We elected someone whose image was made by reality TV. That kind of understanding can allow us to go back and say, “What else did I just swallow that I was sold?”

Documentaries that revisit scandals are no doubt valuable in that they can profoundly change the way we consider the past and hopefully, the future. But they also pose a certain temptation to get too comfortable: There is some risk that we might watch something like Lorena, pat ourselves on the back for figuring out who the bad guy really is, and walk away thinking that the past is the past and we won’t make the same mistakes again. But what Lorena Bobbitt’s story meant in 1993 “is not that different from what it means today,” says journalist Kim Masters in Lorena. “It’s the same story.”

Then, too, there’s the reality that these reconsiderations tend to revolve around trials or public hearings, which provide a clear way to revisit the past through criminal records and court transcripts and recorded interviews. These were big, splashy stories that now get big, splashy reappraisals. But the world is filled with smaller, more mundane injustices and oversights, and most of those who suffer will never make it to court or Congress, or receive a high-profile opportunity to seek vindication.

Watching something like Lorena feels important, but it also feels lousy, because not enough is different now. Reconsiderations like these can’t be antidotes if we ignore the cure — if we continue to dismiss women and other marginalized, vulnerable people when they’re being abused, or taken advantage of, or otherwise maligned. Lorena receives a tremendous amount of empathy in Lorena, as she should. But why can’t we extend that kind of empathy to more people like her today, instead of waiting two and a half decades to rethink how we’ve behaved?

Apology tours for sexual misconduct are practically rote at this point: Transgressors get plenty of airtime to beg for forgiveness for touching butts, to come out of the closet, to recommend a supposedly great pizza dough cinnamon roll recipe. Meanwhile, victims or survivors are largely forgotten after the accusation becomes public. It’s relatively new that women like Lorena or Hill are getting some space to tell their stories on their own terms, and still rare that the opportunity is afforded to women of color in particular.

Lorena is timely not only in the sense that conversations about sexual abuse and assault have taken center stage over the past year, but also because anxiety about immigrants taking advantage of the system and of poor, unwitting white Americans is currently at a fever pitch. When Lorena and John Wayne Bobbitt got married in 1989, she was 20, and in the US on a student visa. “There’s women who are opportunists, gold diggers, they use you as a stepping stone to advance their career,” Bobbitt says, referring to his ex-wife in an interview in Lorena. “These women, they know that their backup is [to] use law enforcement to their advantage by saying, ‘You know what, if you leave or you fuck up this relationship or you don’t get my citizenship, I’ll call the cops.’”

Despite Bobbitt’s own laundry list of arrests — many of which are for domestic violence against past partners — he still uses Lorena’s citizenship (or lack thereof) as supposed proof that she was unstable, demanding, and manipulative. “She was obsessed with having her American dream, her American dream, her American dream,” Bobbitt told Vanity Fair. “She just wanted too much, too fast.” And even in a supposedly silly reality series like 90 Day Fiancé (a show about bad American people marrying other, noncitizen but still-often-bad people), it’s clear that many of the same biases against immigrants that were at play in the Bobbitt case are alive and well today.

Lorena takes great pains to draw similarities between then and now, reminding viewers that domestic violence is still a secret shame for countless women, and that it’s still incredibly challenging to get away from your abuser. The last episode of the series is called “The Cycle of Abuse” and opens with a slideshow of women’s bruises and scars from domestic violence. “This is about a victim and a survivor and this is about what’s happening in our world today,” Lorena recently told the New York Times.

And that may be true of what Lorena experienced at the hands of the media, as well as her husband. “If Lorena’s story hit today, Fox News would take the place of Howard Stern, and the 24-hour news cycle would focus on what she did, rather than what he did,” says Kim Gandy, the president of the National Network to End Domestic Violence. Documentaries like Lorena are timely for a reason — a bad reason — and instead of feeling smug for finally listening, 25 years later, it’s worth taking the opportunity to see what we can do better now.

While the outrage around Brett Kavanaugh’s confirmation to the Supreme Court this past fall might have sounded deafening depending on who’s inside your political bubble, the result is ultimately the same as it was for Clarence Thomas after Anita Hill’s testimony. He’s in, and there’s nothing anyone can do about it. Meanwhile, Christine Blasey Ford, the woman who came forward to detail Kavanaugh’s alleged assault, was left unable to work and in need of a security detail.

I was 3 years old during Lorena Bobbitt’s trial. I was 7 during the Clinton–Lewinsky scandal. I was a few months old for Anita Hill’s hearing. When Blasey Ford testified late last year, I was 27. And yet somehow her testimony still felt like unbearable déjà vu, as if I had lived through this already and already knew the inevitable conclusion.

Today, though entertainment industry figures like Harvey Weinstein and Les Moonves are facing some long-overdue music for accusations of sexual assault and harassment, it’s taken decades for that to happen. For figures like Bryan Singer and R. Kelly — both the subject of recent reporting that details sexual abuse allegations stretching back many years, both of whom continue to deny any wrongdoing — it remains to be seen what lasting consequences, if any, they will suffer. Their accusers, like Lorena, have been vulnerable people from already marginalized groups — in these cases young, primarily queer boys and black girls — who have been either painted as liars and manipulators or outright dismissed.

What’s upsetting about these stories is not just the abuses they describe, but the public indifference they often get in response; the rumors and allegations around Kelly, for example, have done astonishingly little to tarnish his celebrity or dim public affection until very recently, following the release of the Lifetime documentary series Surviving R. Kelly. And it’s taken 10 years since Michael Jackson’s death for a significant documentary about the allegations of child molestation against him, HBO’s Leaving Neverland, to crack through the surface.

Ten or 20 years from now, will we be watching a heartbreaking five-part docuseries on the alleged victims of Bryan Singer? On the many accusations against him, on how they were ignored for years, on how they sort of broke through in early 2019, how they quickly petered out, and how he continued to get work — and watch his movies win awards — even after the allegations were made public? (Hopefully not.) Is years or decades of hindsight the only way any of us can begin talking about things like domestic violence or sexual assault? The distance might make it feel safer to discuss, especially when powerful people are involved, but it also means the conversation starts far too late.

Lorena also reminds audiences that she was the subject of wild cruelty from the media and comedians during and after her trial. “David Letterman used to call me his girlfriend,” Lorena says in the docuseries. “The jokes did bother me, because I didn’t know to handle it. People were talking about my background. They were saying I was just a hot-blooded Latina woman. It hurts my heart. It hurts my brain. It hurts my whole body.”

Howard Stern practically made a career out of promoting Lorena’s ex-husband — he had Bobbitt on his show repeatedly and during his 1994 Rotten New Year’s Eve Pageant special, raising money for Bobbitt’s medical expenses. During the pageant, Stern airs a mocking reenactment of Lorena’s crime. “A penis is a terrible thing to waste,” Stern says, holding two pieces of a fake member, cut in half, aloft. The Bee Gees performed a parody song that included the advice “Don’t ever piss off your wife.” The metaphor is so blatant it’s embarrassing: A man’s penis is his power, and this woman had the audacity to try to take it away. She needed to be put in her place. “To me it was just cruel,” Lorena told the New York Times. “Why would they laugh about my suffering?”

In hindsight, jokes like these may seem to be in such bad taste that it’s a wonder Stern still has a career. But jokes at the expense of victims and marginalized people haven’t gone away, and neither have most of the comedians who make them. Amy Schumer used to crack jokes about Mexicans being rapists; she apologized for it years later. Sarah Silverman did blackface in 2007; it took her until 2015 to apologize for it (sort of??). Louis C.K. is, currently, mocking the Parkland shooting survivors and joking about his history of masturbating in front of nonconsenting women, all to applause from comedy club audiences. Every Saturday, Michael Che and Colin Jost turn Saturday Night Live into a Statler and Waldorf sketch where they complain about having to learn a few new gender pronouns. None of this will age well, but even in the moment, plenty of us don’t find these “jokes” all that funny to begin with.

The only tangible thing to learn from watching Lorena, besides the full facts of her case, is that the strongest advantage people like Lorena have on their side is time. You just have to wait. You have to wait out the cruel late-night jokes and the sexist media coverage about you and the gossip and conjecture and slut-shaming and mockery. You have to wait two and a half decades, and then maybe, if your case was a big enough deal, someone will make a movie about you, and you’ll get a chance to wear a nice blouse and trousers and sit on a couch and tell your story from the beginning, without interruption, for the first time in your life. The world will turn in your direction, and your abusers will look worse and worse with every passing day (even if they’ve evaded any concrete kind of consequences), but first — you have to wait.

Scandalous stories like Lorena’s are also undoubtedly complicated by the fact that they don’t only boil down to a bad man and a woman wronged. Even in light of widely publicized and well-produced reconsiderations, not all viewers will be on board with Lorena, who did commit a crime, just as Lewinsky is far from a fully redeemed figure now in the public eye. And both women will always be punchlines to some people; even for the few who do get their turn to reframe the stories of their own lives, not everyone is going to listen.

“We always want to find a victim, a villain, and a hero,” says Marshall. “We accept the story we’re told. Having everyone filed away as a certain kind of person and every event filed away as a certain kind of story is how we impose order in the world.” But if you’re able to turn away from that tidy story, and hear what the people who lived it are really saying, “you get closer to the truth.” ●

CORRECTION

February 19, 2019, at 6:34 p.m.

The name of the Michael Jackson HBO documentary Leaving Neverland was misstated in an earlier version of this post.

#news #tw: domestic abuse #tw rape

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emilylangridgematerialsaut12 · 2 years

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Ellen Lupton - NZ Designer

“Increasingly, our students come to MICA with ideas for their own books. And they see MICA as a place where the faculty is very active in the design field. We can make connections for a graduate student who has the ability to write and publish. Increasingly, our alums are going out and publishing their own books in addition to working as designers in a range of studios and companies.” - Ellen runs her own design centre, and education programme - where students and young creatives can go for ideas.

“To me, success is being part of a community and engaging in a conversation about what you do. That community can be large or small. It can be focused around something narrow and professional like typeface design or publication design, or it could be more outward and social, like exploring “slow design” or building up the cycling community where you live. Success means being part of a conversation. You’re not just going to work every day and getting stuff done for clients; you’re contributing to something bigger. You’re engaged in the AIGA or in community organizing around design or social issues or national politics — anything.”

Ellens work focuses on social justice, movements and communities. Her main style is bold, powerful and follows a going with the grid format. Ellen believes success comes from being inspired by peers, and working with those around you. Ellen is inspired by typography, and is driven by reworking fonts.

Lupton sees design as a “Revelation” and a way to progress in society.

“Design your life with Ellen Lupton.” - June 29 2007 -

Ellen Lupton has been Cooper-Hewitt's curator of contemporary design since 1992. Her new book, Design Your Life: The Pleasures and Perils of Everyday Things.

New Digital Type: Restraint - On Friday, September 3, 2010

Curator Tour - “Now in Production”. 2012 - Ellen Lupton talks about indie publishing, typographic spectacle, non-normative software use, and design as fiction.

Thinking with type - 2014

. “The Senses descriptive audio tour.” - Ellen Lupton curator of the exhibit, purely audio exhibit for those with low vision - accessibility. -May 24, 2018

MICA - Design school, the faculty is very active in the design field, increasingly, the schools alums are going out and publishing their own books in addition to working as designers in a range of studios and companies. (Maryland Institute) - 1826.

Ellens MICA program is focused towards graphic design as a legible, understandable, practical discipline. The work that the students do is founded in the reality of design practice. The work is self-motivated and experimental and aimed at meeting the demands of the design industry.

Thinking with type - 2014

Self portraits

How posters work - Cooper Hewitt, Smithsonian Design Museum, 2015

The exhibition at Cooper Hewitt, Smithsonian Design Museum, presented as a design primer. Designed by Ellen Lupton

Ellen Lupton Design Is Storytelling Cooper Hewitt, Smithsonian Design Museum, 2017 Illustrated by Jennifer Tobias Cover design by Jason Gottlieb

Ellen Lupton, editor Indie Publishing: How to Design and Produce Your Own Books Princeton Architectural Press and Maryland Institute College of Art, 2008

Ellen Lupton Skin: Surface, Substance + Design Princeton Architectural Press and Cooper Hewitt, Smithsonian Design Museum, 2002

“Ellen Lupton is a writer, curator, educator, and designer. Lupton is the Betty Cooke and William O. Steinmetz Design Chair at MICA (Maryland Institute College of Art) in Baltimore, where she has authored numerous books on design processes, including Thinking with Type, Graphic Design Thinking, Graphic Design: The New Basics, and Type on Screen. She serves as a senior curator at Cooper Hewitt, Smithsonian Design Museum in New York City. Recent exhibitions include Herbert Bayer: Bauhaus Master, Face Values: Understanding A.I., The Senses: Design Beyond Vision, Beauty—Cooper Hewitt Design Triennial, How Posters Work, and Beautiful Users. Her book Design Is Storytelling was published by Cooper Hewitt in 2017. She received the AIGA Gold Medal for Lifetime Achievement in 2007. She was named a Fellow of the American Academy of Arts & Sciences in 2019.”

EDUCATION BFA, The Cooper Union for the Advancement of Science and Art, 1985. Doctorate in Communication Design (DCD), University of Baltimore, 2008.

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creamgun47 · 2 years

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18v One+ Brushless 410 Cfm Whisper Series Blower

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This Ryobi Cordless Leaf Blower 40v Features

Five years ago when I posted the Sears vendor list, and they were and are a vendor. After I found the list I looked at all the Craftsman that I bought in the 70s and 80s and it was all made by Ryobi. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. The basic arguments that resonate are noise and pollution. All batteries feature a LED charge level indicator, that allows to comfortably read the charging status while working with the Ryobi 40V leaf blower. And that’s not the only positive aspect about the battery’s exterior design, as the lithium pack also has a rubber lining in order to prevent the battery from any damage. The Ryobi 40V leaf blower comes with an air volume of 500 cubic feet per meter and an air speed of approximately 110 miles per hour . Therefore, it is ideally suited for wet and tramped leaves as well as other surfaces which are difficult to process.

#Ryobi Leaf Blower

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urbanadventureleague · 1 year

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Cycle Touring Primer 3rd Edition PRE-ORDER through June 30

My first Cycle Touring Primer was released fifteen years ago. While there was a good update in the earlier part of the teens, now is time for a major refresh! Are you itching to hit the open road and explore the world in a way you haven’t yet? Are you a regular bicycle rider but have never taken a bicycle tour? The Cycle Touring Primer is for you! This guide is about the basics of self-supported…

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#cycle touring primer #zines

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turbiblog · 3 years

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Grandes de la industria: "Shimano"

Como resultado de la modernización de Japón a principios del sigo XX, Shimano ha ido convirtiéndose en el mayor fabricante de componentes del mundo. Fabrica de todo, desde cambios y frenos hasta ruedas y pedales, y es el mayor suministrador de partes originales a empresas que desarrollan bicicletas nuevas. Sus productos son una referencia de funcionalidad y diseño.

Las herrerías Shimano iniciaron su carrera en Osaka (Japón) como pequeño taller de 40 metros cuadrados con maquina-herramientas y con un torno prestado. Fue fundada en 1921 por Shozaburo Shimano, ingeniero de 26 años de edad que ya había trabajado varios años en fabricas de componentes para bicicletas. Shimano escogió fabricar una sola parte de la bicicleta, el piñón libre, para abastecer a la creciente industria ciclista japonesa. Por ese entonces, la fabricación del piñón libre era la que entrañaba mayor complejidad tecnológica, y existía ya desde hacia algunas décadas, pero Shimano la identifico como componente clave susceptible de mejora. Su piñón libre monomarcha 333, que salio al mercado en el año 1922, tuvo éxito inmediato, y a partir de 1930 se exporto a China, Corea y el Sureste Asiatico.

En 1940, la empresa había crecido hasta los 300 empleados, y en 1945 se añadieron los bujes a su linea de productos. Durante un breve periodo en la década de 1950, se fabricaron bicicletas completas, pero el experimento no tuvo mayor éxito. A finales de esta década se dio un periodo de rápido crecimiento: en 1956 se produce el primer cambio de marchas, y un año después un buje de marchas internas de tres velocidades. Mientras tanto, Shimano exploraba nuevas tecnologías para técnicas de fabricación. Después de informarse sobre la forja en frio -un método para prensar metal a temperatura ambiente- en una feria de muestras en 1957, Shimano vio el potencial de esta ingeniería de precisión y bajo costo para sus componentes de metal, y con la ayuda de científicos industriales y asociado con un consorcio de empresas japonesas, Shimano fue la pionera en el desarrollo de los procedimientos necesarios. Dado este escenario, Shimano quiso salir a la palestra internacional de la fabricación de bicicletas, firmando en el año 1962 su primer contrato en EE.UU. con Columbia Cycles, el mayor y mas antiguo nombre de la industria ciclista estadounidense. Pronto dieron otro gran golpe firmando un contrato con Schwinn, la marca mas popular en EE.UU. en la década de 1960, la cual encargo piñones libres a Shimano. Esto les permitió unos años mas tarde, abrir una sucursal en Nueva York.

Su expansión internacional en la década de 1960 se vio favorecida por el primer producto de éxito de la empresa, el desviador trasero "Skylark". Puesto a la venta en el año 1967, el "Skylark" compartía rasgos de diseño con cambios existentes de fabricantes rivales, pero era mas duradero y preciso en los cambios.

La década de 1970 empezo con la apertura de la fabrica Shimonoseki en Yamaguchi (Japón). Diseñada para producir frenos de contra-pedal, era la mayor planta de bicicletas en el mundo. Impulsada por las buenas ventas gracias a la fuerza del mercado estadounidense, Shimano quiso expandirse a todos los sectores del ciclismo. Aunque las piezas de las bicicletas infantiles y utilitarias estaban bien posicionadas por los productos Shimano, los componentes de turismo y carretera se le habían escapado hasta entonces. En 1973, la empresa lanza el grupo "Dura-Ace", pensado para las bicicletas de carreras, un segmento hasta entonces dominado por fabricantes como Campagnolo, Mavic y Huret. Campagnolo ya sabia que equipar a equipos ciclistas profesionales conllevaba que los ciclistas aficionados y de ocio quisieran tener el mismo equipo que sus héroes profesionales. Desarrollar componentes para ser usados en las duras condiciones de las competiciones también reportaba beneficios tecnológicos, ya que las innovaciones probadas por los profesionales eran integradas luego en otras gamas de Shimano.

Tras ver el grupo "Dura-Ace" en una exhibición ciclista, el equipo belga "Flandria" dio un valiente paso y lo uso en la temporada de 1973. Funcional, pero estéticamente inferior al grupo "Nuovo Record" de Campagnolo, "Flandria" gano dos etapas del Tour de Francia, y Freddy Maertens, la estrella del equipo, fue el segundo en el Campeonato Mundial de Ciclismo en Ruta de Barcelona. Pese a que los componentes de Campagnolo siguiera eclipsando a los de Shimano, estos se fueron infiltrando en el pelotón profesional. Nuevos diseños, como el casete, en 1978, y los cambios de marcha indexados, en 1984, fueron muestra de la innovación constante de la empresa y resultaron suficientes para distancias a Shimano de sus rivales japoneses.

En 1989, Shimano Cambio la naturaleza de los marchas de bicicleta con el concepto "Shimano Total Integration" (STI), con una palanca o maneta dual de freno y cambio que combinaba por primera vez sobre el manillar ambas funciones en una sola unidad. Ahora los ciclistas podían cambiar de marchas sin levantar la mano del manillar, y hasta frenar y cambiar de marcha a la vez. Esto afecto a la estrategia de los ciclistas, permitiendo cambios mas espontáneos y estallidos breves de mayor velocidad. Entre los ciclistas de ocio, la seguridad que suponía esta mejora fue un importante reclamo y los fabricantes rivales se apresuraron en copiar la idea a Shimano.

Desde la década de 1990, Shimano es la marca líder mundial en la industria ciclista. Con fuertes inversiones en I+D (Investigación y Desarrollo), Shimano ha creado productos para cada sector y ha sido pionera tecnologica con su sistema de cambio de marchas electrónico "Di2" (Digital Integrated Intelligence). En la actualidad, casi la mitad de la producción anual mundial de bicicletas nuevas se equipan con componentes Shimano.

#shimano #componentesbicicleta #bicicleta #bicicletas #bicilovers #ciclismo #ciclismodemontaña #ciclismoderuta #revolucionciclista #accesoriosdeportivos

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shark-myths · 6 years

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3. Hold Me Tight Or Don’t

THEORY CONFIRMED: M A N I A IS A PETERICK RETROSPECTIVE

part 3 of shark-myth’s mania meta series

(See other posts about the singles from Mania here and here, and here and here)

Following the idea that the singles are time-stamped for certain eras of FOB, I think that sonically and based on other cues Hold Me Tight Or Don’t fits squarely in the modern era. More detail on why and lots of crunchy lyrics meta below the cut!

I never really feel a thing I'm just kinda too frozen You were the only one That even kinda came close I just pinch myself No longer comatose I woke up, no luck I woke up, no luck

Pinching himself, waking up—dreams are all over this album, dreams have been an important metaphor for the whole history of this band, I need to do some serious and intentional digging into this theme!

The verse links itself to Y&M, waking up on the wrong side of reality, and to Centuries, with the reference to being/feeling frozen. ‘I never really feel a thing’ has an obvious link to the themes in the song Novocaine, which was originally written for SRAR. It holds the iconic lines ‘this is our culture’ and ‘in the truly gruesome do we trust, I will always land on you like a sucker punch’ which both inspired merch for the AB/AP tour cycle. We know Pete liked this song enough to try to fit it on another album after it was cut from SRAR; we can guess it is a song that is important to him. Novocaine reflects the angrier half of the emotions expressed in Hold Me Tight—it’s the punch, it’s the result of all that distance sharpening Pete like a knife. This is a softer and more interactive, conversational expression of that theme: it’s saying, meet me in the middle. Hold me tight or don’t. (But if you don’t, I won’t be your favorite what-if—I will be your worst nightmare.)

And when your stitch comes loose I wanna sleep on every piece of fuzz And stuffing that comes out of you, you

I took too many hits off this memory

I need to come down

Okay, is this evoking MAD Winnie the Pooh vibes for anyone else? No? Just me? Okay then.

This isn’t the first time we’ve heard about stitches coming loose: Snitches and Talkers Get Stitches and Walkers, The Music or the Misery’s ‘I got my stitches stitched, I got my fixes fixed,’ The After Life of the Party’s ‘I’m a stitch away from making it, a scar away from falling apart.’ This is an image he’s been playing with for a long time. Do you think, here, it indicates waiting for someone else’s resolve to break? Pete’s written about himself falling apart for years, but now he’s eagerly waiting for someone else to crumble, unravel, spill out. Someone like PATRICK MAYBE???

The other really significant thing here is the drug use metaphor. As I detailed excessively in my Peterick Primer powerpoint¸ Pete has a history of characterizing his own feelings for Patrick with the desperation of drug use. So in this song, ‘I got high again’ and ‘I took too many hits off this memory’ to me references trysting—when the two of them would have illicit sexual interludes, #trysttheory #forlife, and also his recursive, self-consuming obsession with rehashing those memories and not letting them go. This pulls up Boycott Love (detox just to retox) so strongly. It also pings on content like ‘a bad trip I couldn’t get off,’ ‘when I said I’d return to you I meant more like a relapse,’ ‘I want it so bad, I’d shoot the sunshine into my veins,’ ‘doing lines of dust and sweat off of last night’s stage just to feel like you,’ ‘I’ll be your favorite drug, I will get you high’ and my all-time favorite, that sweet sweet overlap between the drug metaphor and the Novocaine metaphor: ‘I just need enough to you to dull the pain.’

Hold Me Tightly or Don’t fits squarely in the drug use/love metaphor Pete’s so fond of.

Another day goes by

So hold me tight

Hold me tight, or don’t

Oh no, this isn’t how our story ends

So hold me tight

Or don’t

Just a brief note that Pete wrote ‘this isn’t how our story ends’ on his Gucci hoodie in fucking sharpie because he is the prince of trash and I love him. I got too high again Realized I can't not be with you Or be just your friend I love you to death But I just can't, I just can't pretend We weren't lovers first

Confidants but never friends

Were we ever friends?

The most immediate reaction I have to this verse is its contrast with Bang The Doldrums, which imo is a song about the Summer of Like with Mikey Way. Here, it seems clear he’s singing to a different person, just because he’s asking questions that he already answered about the other person in, like, 2007. ‘We weren’t lovers first; confidants but never friends; were we ever friends?’ He is plagued by the same definitonal/territorial issues he always has, in relationships. Pete Wentz is a liminal creature and he craves more than anything classification—but when he gets things hard, fast, labeled, he almost always loses them. He almost always lets them slip through the cracks.

Also worth noting: when he’s too high on Patrick he realizes it’s absolutely insane to try to act like he can just be Patrick’s friend and not want all of him, not always be at least a little heartbroken that he can’t have it. I RELATE TO THIS SO HARD.

Finally, the word pretend. See the Black Cards song End of Pretend for extra suffering, and of course Alone Together—‘let’s go back and play pretend’—and Wilson (Expensive Mistakes)—‘I miss the day when I pretend with you.’ SOBBING

'Cause I'm past the limits

The distance between us

It sharpens me like a knife Past the limits The distance between us It sharpens me like a knife The distance reminds me so much of the content in The Last of the Real Ones. This is it, this is the Real True stuff here. If anyone has that Mr. Crocker reaction image on hand you can toss it at me now, because that’s me, that’s my life, tryst theory tryst theory tryst theory.

I could go on about the song forever and maybe I’ll have more to say after I’ve heard it a few more times! I’ll leave you with some parting thoughts on the video:

can we just talk about how much FUN everyone is having? And Patrick. Why. Why does he look like that. Why is he so fucking beautiful. I’m sweating.

Seriously, Patrick, S T O P

SMILEY JOE

SMILEY PETE

SMILEY ANDY

Did the grey washed-out doom skull turn to a gold skull through the course of the video? Because if that’s not a metaphor of Pete’s experience of loving Patrick what is

Did the skeleton’s suit remind anyone else of DOB-era Brendon Urie

boy I hope they worked with some actual people from mexico on this and it’s not the uncomfortable video equivalent of a white girl’s sugar skull halloween costume

Check out my lyrics meta tag for more screaming! See you guys with new material soon.

part 0

part 1

part 2

#peterick #hold me tight or don't #fob #fall out boy #tryst theory #lyrics meta #mania #mania meta

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luisdemen · 6 years

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La totalmente nueva Acura RDX 2019 hará su debut en público como el vehículo oficial y guía del equipo para Rally Cycling, el programa de ciclismo continental de mujeres y hombres más prestigiado de los Estados Unidos y lo hará durante toda la temporada 2018, comenzando con el Amgen Tour de California.

Ahora en su 7º año consecutivo como patrocinador de Rally Cycling, Acura también prestará al superdeportivo NSX como segundo vehículo de apoyo para acompañar a los ciclistas en cada etapa del Amgen Tour de California. Tanto la RDX como el NSX llevarán los colores de Rally Cycling (naranja y negro) y su logotipo, conforme acompañan al equipo de Rally Cycling a través del Amgen Tour de California, y mientras la RDX continúe dentro del tour a lo largo de la temporada 2018.

“Nos emociona continuar nuestra sociedad con Rally Cycling y mostrar la totalmente nueva RDX en la vía pública”, comentó Jon Ikeda, vicepresidente y director general de Acura. “La RDX 2019 es la versión más rápida y con mejor manejo hasta la fecha, lo cual la hace el vehículo perfecto para apoyar al equipo de Rally Cycling durante esta exigente temporada de carreras”.

Como el primero de una nueva generación de productos Acura, la rediseñada RDX 2019 ofrece un desempeño único en su clase, una cabina más lujosa y espaciosa, y una serie de tecnologías y características de punta. Diseñada, desarrollada y fabricada en los Estados Unidos, la nueva RDX turbocargada comenzará a llegar a los distribuidores Acura este verano como la RDX más rápida, de mejor manejo y más lujosa hasta la fecha.

El equipo masculino 2018 de Rally Cycling consiste de 16 ciclistas, y es dirigido por Jonas Carney, Patrick McCarty, Eric Wohlberg y Andy Bajadali. El equipo fue fundado en 2007 y pasó 11 temporadas dentro de la clasificación continental. En 2018, el equipo subió a la categoría Pro Continental y cuenta con un plan de crecimiento a largo plazo. Durante sus primeros años, el equipo dominó el circuito critérium, convirtiéndose en el primer equipo de novatos en ganar el título critérium de los Estados Unidos. Rally Cycling ha crecido hasta convertirse en un equipo de renombre intercontinental, capaz de llevarse cualquier podio en las carreras más prestigiosas del mundo.

El equipo femenino 2018 de Rally Cycling consiste de 13 ciclistas y es dirigido por el ex-olimpista Zach Bell. El equipo ha colocado a atletas en los podios más reconocidos del mundo, incluyendo los de Ronde Van Vlaanderen (2012) La Course (2014) y Gent Wevelgem (2015). El equipo ha ganado consistentemente circuitos callejeros, pruebas de velocidad, y campeonatos critérium en Canadá y Estados Unidos. Desde 2012, las mujeres han ganado 16 títulos nacionales en Norteamérica. En 2018, su joven alineación ha logrado ya grandes resultados en las principales carreras de Norteamérica, incluyendo triunfos en la carrera Joe Martin Stage Race y el Tour of the Gila.

Acura Rally NSX

Acura Rally 2019 RDX

Acura Rally NSX

Acura RDX 2019 hace su debut como vehículo oficial de Rally Cycling junto al superdeportivo NSX La totalmente nueva Acura RDX 2019 hará su debut en público como el vehículo oficial y guía del equipo para Rally Cycling, el programa de ciclismo continental de mujeres y hombres más prestigiado de los Estados Unidos y lo hará durante toda la temporada 2018, comenzando con el Amgen Tour de California.

#2018 #Acura #CarManía #MY 2019 #Noticias #NSX #Rally Cycling #RDX

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erickgonzalezrios8vob · 3 years

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CRÓNICA DE UN CAMPEÓN

Un sueño que comenzó en Carchi y terminó en Roma

Richard Carapaz, nació el 29 de mayo de 1993 en la comunidad La Playa Alta, parroquia El Carmelo, cantón Tulcán (conocida como la capital del ciclismo ecuatoriano). Desde muy pequeño aprendió las labores del campo y así mismo aprendió dos pilares fundamentales, ser disciplinado y fuerte en su vida, el primero porque en el campo no hay lujos y hay que trabajar para obtenerlo y segundo porque hay que ser fuerte para superar cualquier adversidad, porque la vida así se lo enseñó y tuvo desde pequeño que aprender a superar adversidades que con ganas y carácter supo salir hacia adelante. De niño tenía una bicicleta que lamentablemente le robaron y ni siquiera pudo usarla, ni aprender a manejar algo que no fue impedimento para él. Como su padre comerciaba con chatarra para vender en la zona, le consiguió una bicicleta para su hijo, es así como llegó a sus manos una bicicleta vieja, oxidada y destartalada sin neumáticos, la cual fue su tesoro a los 10 años de edad. Con esa bicicleta iba al colegio y salía a realizar las diligencias de su hogar e iba a pasear. Siempre en las heladas y altas montañas del norte ecuatorial y declaró que algún día ganaría el gran anhelado giro de Italia. Inconscientemente con su rutina en esos empinados trayectos, fue forjando su habilidad para escalar. El frio y la lluvia que son propias de la región emulaban las duras condicionas que más tarde afrontaría en cumbres italianas. Junto al exciclista ecuatoriano Juan Carlos Rosero aprendió los secretos de este deporte y emprendió su triunfal carrera, a la edad de 15 años se unió a un equipo aficionado Panavial Coraje Carchense. Consiguió perfilarse como uno de los mejores ciclistas y en el 2013 ganó el Campeonato Panamericano en Ruta en la categoría sub-23 y la vuelta a Guatemala, el triunfó de Richard auguraba éxito para el ciclista y un año más tarde sus ilusiones se fueron al suelo debido a un trágico accidente, fue atropellado y estuvo alejado de las calles por 6 meses. En medio de pronósticos que mencionaban que quedaría invalido. Esa disciplina y fuerza que forjó desde niño le ayudó a recuperarse.

En 2015 emigró a Colombia, para correr con el equipo local Strongman-Campagnolo. Allí se convirtió en el primer extranjero en ganar en ese país. además de ganar una etapa en el tradicional Clásico RCN. Su progresión y manera de cómo manejaba la bicicleta, llamaron la atención de los ojeadores europeos quienes le ofrecieron ir a Europa.

En 2016 una de las ofertas fue ir a prueba tres meses al equipo español Lizarte, con el cual conseguiría en 2016 su primera victoria en tierras europeas al adjudicarse la Vuelta a Navarra, siendo también la primera victoria de un ciclista ecuatoriano en Europa y el primero que gana una etapa en una carrera europea, al haber ganado también una etapa en esta misma Vuelta a Navarra.

En 2017 llamó la atención del manager del equipo Movistar Team, quien le propuso un contrato para correr como profesional, donde alcanzó el segundo lugar en la tradicional Route du Sud, también tuvo la oportunidad de ser el primer ecuatoriano en competir en una de las tres Grandes Vueltas, participando en la edición 2017 de la Vuelta a España, donde fue protagonista de un intento de fuga en una etapa de montaña.

Más adelante en ese mismo año fue expulsado de la selección ecuatoriana, junto a dos ciclistas más, durante los Juegos Bolivarianos de 2017 por presuntamente haberse embriagado el día de la inauguración del torneo, además de cometer varias faltas disciplinarias relacionadas con el alcohol. Después del suceso los tres ciclistas implicados se disculparon públicamente e indicaron que, al no ser recibidos por los dirigentes deportivos a su arribo a Santa Marta, fueron a un restaurante y acompañaron la comida con una cerveza.

En la temporada 2018 comenzó adjudicándose la Vuelta a Asturias, para luego convertirse en el primer ecuatoriano en ganar una etapa en una Gran Vuelta y en vestir la camiseta blanca de mejor joven en el Giro de Italia, mérito mantenido durante 8 etapas; y en la clasificación general se ubicó en la cuarta posición, a 47 segundos del podio. También registró su segunda participación en la Vuelta a España edición 2018 y su primera participación en el Mundial de Ciclismo en Ruta de ese año.

En el 2019 le esperaba lo mejor de su carrera, volviendo a participar en el giro de Italia, siendo esta la 102 edición del Giro de Italia, el cual se celebró entre el 11 de mayo y el 2 de junio de 2019 e inició con una contrarreloj individual en la ciudad de Bolonia y finalizó con otra contrarreloj individual en la ciudad de Verona en Italia. El recorrido constó de un total de 21 etapas sobre una distancia total de 3486,5 km.

Tomaron la partida un total de 22 equipos de los cuales asistieron por derecho propio los 18 equipos UCI WorldTeam y por invitación directa de los organizadores de la prueba (RCS Sport) 4 equipos de categoría Profesional Continental quienes conformaron un pelotón de 176 ciclistas. Los equipos participantes fueron:

WorldTeams

· AG2R La Mondiale

· Astana Pro Team

· Bahrain-Merida

· Bora-hansgrohe

· CCC

· Dimension Data

· EF Education First

· Groupama-FDJ

· Jumbo-Visma

· Lotto Soudal

· Mitchelton-Scott

· Movistar Team

· Deceuninck-Quick Step

· Katusha-Alpecin

· Team Ineos

· Team Sunweb

· Trek-Segafredo

· UAE Team Emirates

Equipos continentales profesionales

· Androni Giocattoli-Sidermec

· Bardiani CSF

· Israel Cycling Academy

· Nippo Vini Fantini Faizanè

En esta Carrera del Giro de Italia, Richard participó como el segundo hombre de la formación del Movistar Team acompañando a Mike Landa, las cosas no arrancaron bien para Landa cediendo más de un minuto en la primera etapa, Richard se ponía delante de su compañero en la general y en la cuarta jornada, le aguo la fiesta a los embaladores escapándose dos metros antes de que ellos realizaran el sprint, ganando su primera etapa en la edición y su segunda acumulado como profesional. A medida que continuaba el giro, las posiciones se iban alternando entre Landa y Carapaz, un día era bueno para Mike y otro para Richard. Por un momento parecía que se les iba el giro al Movistar Team, pero lo mejor vino después, Richard se llenó de confianza y apelo nuevamente con la fuerza y disciplina que forjo desde su niñez, salió en la etapa 14 con toda su determinación, como si fuera el último día de su vida, pedaleó con más ganas que nunca y empezó a descontar rivales, en su mente la intención de seguir al frente y nunca mirar atrás. Ninguno de sus contendientes fue capaz de seguirle, Richard arrasó con lo que había y se llevó una nueva etapa. La diferencia fue tan amplia que le permitió vestirse con la maglia rosa, la cual llevaría consigo hasta la última etapa en Verona, una contrareloj indivual que ganó el americano Chad Haga, en la que Richard también levantó los brazos para cumplir el sueño del niño que montaba en la bicicleta azul, coronándose así el ciclista ecuatoriano Richard Carapaz, quien rompió la historia al consagrandose campeón del giro del de Italia, siendo una de las tres competencias más grandes del circuito mundial junto al Tour de Francia y Vuelta a España y con este triunfo se convirtió en el primer ciclista de su país en ganar un Giro de Italia y el segundo ciclista latinoamericano en conseguirlo luego del triunfo obtenido por el ciclista colombiano Nairo Quintana en el Giro 2014.

Bibliografías:

· https://es.wikipedia.org/wiki/Richard_Carapaz

· https://www.youtube.com/watch?v=g8fie_b098k

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