Tertiarymatt

(click to enlarge photos)

Through the 1890s Pike Street was developed as the first sensible grade up the ridge, east of Lake Union before the ridge was named Capitol Hill by the real estate developer, James Moore.  As a sign of this public works commitment, Pike Street was favored with a vitrified brick pavement in the mid-1890s.  As can be seen here, Fourth Avenue was not so blessed.  The mud on Fourth borders Pike at the bottom of this anonymous look north through their intersection and continues again north of Pike beyond the pedestrians, who in this scene are keeping to the bricks and sidewalks.

At the intersection’s far northeast corner dark doors swing beside the Double Stamp Bar’s sign, which pushes Bohemian Beer at five cents a mug. The first storefront to the right (east) of the bar and its striped awning is the Frisco Café, Oyster and Chop House, whose clam chowder can be had for a dime and “oysters in many styles” for a quarter.  Far right on the sidewalk at 404 Pike, a general store sells both new and used, and advertises a willingness to barter with cash-free exchanges.  Its merchandise is a mix of soft and hard: hanging buckets and baskets are seen through the windows, as well as a pile of pillows.  These storefronts and two more are sheltered in five parallel, contiguous sheds, modest quarters that are given stature with the top-heavy false façade they share above the windows.

The bookends here are the Ranke Building, far right, and the Carpenter’s Union Hall, far left.  Otto and Dora Ranke were the happy German-born and wed builders who staged plays and light operas in their home and performed in them, too.  When the Ranke’s built their eponymous big brick building. it featured a hall and stage for productions of all sorts, including musicals.

In 1906, beginning at this intersection, an extension of Westlake Avenue was cut and graded through the city grid to Denny Way, where it joined the ‘old’ Westlake that is now ‘main street’ for the south Lake Union Allen-Amazon Neighborhood. As part of this Westlake cutting, Carpenter’s Hall was razed, and a landmark, the Plaza Hotel, took its place in the new block shaped by Fourth Avenue, Pine Street and the new Westlake Avenue.  The Carpenters moved one block north on Fourth Avenue where they built a new brick union hall.  Then in 1907 Fourth Avenue was continued for two blocks north from Seneca Street, through the old territorial university campus, to Union Street.  As a result of these two regrades, in less than two years the crossing of Pike Street and Fourth Avenue developed into one of the busiest intersections in the city.

WEB EXTRAS

Anything to add, Paul?  Again and again – thru ten clicks – one may proceed with Ron Edge’s pulls, this week, of appropriate links to past features at and/or near Fourth Avenue and Pike Street.  Following those we may find a few more fitting ornaments at these by now late hours allow.

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NEARBY ON PIKE

 THREE SECURE HYDRANTS in WALLINGFORD taken during my “Wallingford Walks” between 2006 and 2010.

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ANOTHER LEAK ON PIKE

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TWO PIKE PAGES OF SIX in PIG-TAIL DAYS

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Now up the stairs to nighty-bears.  We will re-read and proof tomorrow.

3D printing keeps getting bigger, better and more accessible every day--you can now buy a MakerBot or Dremel 3D printer at Home Depot. Plastic filament printers are, by far, the most common type you will find at makerspaces and home garages, but high-resolution resin printers are slowly creeping into the mainstream. One of the most promising, is the Formlabs Form 1+ SLA printer developed by a team from the MIT Media Lab. I had the chance to put a Form 1+ through it’s paces for two months and here’s how it went.

First, a little backstory on the company. Formlabs was founded in 2011 by a group of MIT grads who were frustrated by the fact that there was no economical way for most people to experience the highly-detailed prints that SLA and DLP resin printing offered. Unlike filament printers, which were popping up everywhere at relatively consumer-friendly prices, SLA printers cost tens of thousands of dollars and were simply out of reach of most users. Formlabs set out to make a desktop SLA printer that would rival the big machines and cost only slightly more than many filament printers. At the end of 2012 they successfully completed a $100,000 Kickstarter campaign, eventually bringing in over 2.9 million dollars. Nothing like being too successful--now the pressure was on with a lot of machines to build. Production delays happened and then they got hit by a patent infringement lawsuit from 3D Systems, the inventors of SLA printing. I am happy to hear that the parties have settled, and the case was just dismissed with prejudice on December 1. Formlabs is free to forge ahead.

Having met the Formlabs team a few times at Maker Faire and other events, I have always been impressed. Everyone at the booth knew their stuff, answering in-depth anything I threw at them. One particular staffer was really killing it with thorough and informative answers--turns out she was their material scientist. The machine was sharp looking and all the prints looked great--I really wanted to buy one, almost backed the Kickstarter for an early unit, but chickened out. Recently I contacted Formlabs to request a sample unit to test. So for the past few months, I've had a Form 1+ in my possession and was able to put it through it’s paces!

How It Works

The Form 1+ SLA printer makes a good first impression--sleek and simple design, using quality materials. It just looks cool. It takes up a little more room than a large coffee maker, but it also comes with a cleaning station that you will need to make room for. The on-board interface has one button that does everything with a variety of taps and holds, mostly you use it to simply start and stop prints. PreForm is the easy-to-use model processing software that can be downloaded from the Formlabs website.

The build envelope is 4.9” x 4.9” x 6.5”, which may sound tiny when compared to filament print beds, but prints can be positioned in ways to maximize the space. There are three print resolutions available: 100, 50 and 25 microns (.1, .05, .025mm). As a comparison, 100 microns is typically the finest resolution available with filament printers and a professional printer such as the ProJet 7000 (which I used for the Millenbaugh Motivator) can print at 125-50 microns. “A-ha!” you say--the Form 1+ can do even finer resolution than the pro machine! Yes, it can technically print a finer layer thickness, but you also have to consider feature resolution, which is the smallest detail the printer can accurately reproduce. This is where the pro machine wins out. The ProJet can accurately reproduce details down to 50 microns, where the Form 1+ does 300 microns. Don’t get me wrong, 300 microns is still really small and the Form 1+ can do details just great, but you can start to see what a lot more money will get you.

The Form 1+ uses a laser to ‘draw’ and cure each layer of the print in a UV-curable, liquid resin. An amber acrylic cover encases the print area to keep sunlight out, which would cure the resin and to protect you from the laser. The print adheres to a removable print platform that clamps into the machine, at the top of the z-axis spindle. Below the platform is a removable, acrylic resin tray, which has an optically clear silicone bottom and mounts into a pivot mechanism that rocks the tray up and down, during printing, in order to peel the print off. The trays are also amber and come with a lid so they can be safely stored without curing the resin inside. Upon removing the resin tray, you can see the large mirror mounted at a 45 degree angle which the rear-mounted laser bounces off of and into the bottom of the resin tray.

I was able to get the Form 1+ up and printing in no time--faster setup than a filament printer. With a filament printer there’s a lot more moving parts and the filament has to be loaded, which requires preheating the machine. Typically some kind of covering or coating has to be put on the print bed and it has to be leveled and then the machine has to preheat. With the Form 1+, I filled the resin tray to the line, uploaded the model and printing began immediately. With a filament printer, if you want to change materials, the machine must heat up, the filament extracted, the new filament loaded and then the system needs to be flushed to remove any traces of the prior filament. With the Form 1+, simply remove the tray and insert a new one with a different resin, this is assuming you have an extra tray (more on that later).

Resin comes in a light-tight bottle that needs a good shake, if it’s a pigmented material. It’s poured into the resin tray to the to the ‘max’ fill line, which should be adhered to closely, as the level of the resin rises dramatically as the platform submerges. Carelessly overfilling the tray would result in an overflow that would end up inside the machine. I would let the resin sit for a little to allow bubbles to work their way out. Once a print is initiated, the platform lowers into the resin and sits on the bottom of the tray. The laser immediately starts darting around, curing a thick layer of resin and supports that the entire print hangs from and adheres to the aluminum print bed. When a layer is finished, the resin tray, which is mounted to a hinge, dips down thereby peeling the print off the bottom of the tank. The print platform then moves up slightly for the next layer and the tray moves back into position. It does this for every layer and is the only noise the machine makes and while not silent, it’s far quieter than my MakerBot. Once the print finishes, the platform will move to it’s home position at the top of the z-axis spindle, with the print hanging, bat-like, from the bottom. I would recommend allowing the print to rest for a few minutes, as there is still liquid resin clinging to it that will drip back into the tray.

Like any 3D printer, prints can take a long time. The Form 1+ is the updated version of the original Form 1 and is twice as fast and has a laser four times as powerful. At the medium, 50 micron setting, a 1:64 scale jetcar took around 8 hours and the larger 1:48 scale took around 12 hours. A long time, but not for this type of printing and the wait is worth the details.

Once a print is finished, it’s onto the cleaning station where we remove any liquid resin remaining on the print. Formlabs put together a nice vacuum-formed tray that has a place for the platform, two cleaning tanks and an absorbent pad to rest models on while they dry. A squeeze bottle, blunt scraper, flush cutters, tweezers and rubber gloves are also included. You will have to purchase isopropyl alcohol for cleaning the models. I would recommend getting at least a gallon can from your local mega mart as it takes a good bit to fill all the tanks and it will get dirty fairly quick. The print has to be pried off the print platform using the included scraper. It can be a tough job but the PreForm software wisely adds little notches to the base of each print which makes getting the scraper in and under the print much easier.

Once removed, the print goes in the first tank with alcohol and gets shaken gently for a minute or two, then it soaks for around 10 minutes. The print is removed, using the convenient basket and moved to the second tank for a repeat shake and soak and then to absorbent pad to dry. At this point, the print is not 100% cured and will be slightly soft and flexible, so be careful not to bend, break or scratch anything. I confirmed with Formlabs that they will usually zap the finished print in a UV oven for a few minutes for a full cure. For the rest of us, the print could be put in the sun for a few minutes or it will cure on it’s own over a few days. I found putting prints in the sun a risky business as I had some thin features severely warp from rapid curing.

This is a good point to remind everyone that prints are UV-reactant, so you don’t want them sitting in the sun or under a halogen lamp as they will discolor and become brittle. This is not unique to the Form 1+, but true of most resin printers, so prints should be painted or at least clear coated to protect them. You will also need to remove the model from the supports, which attaches the model to the print bed (more on this in the Software section). Supports can be removed with the included flush cutters or an x-acto knife and any remaining marks can be sanded once the model is cured.

Testing the Software

The PreForm software is simple and easy to use, while still giving the user access to some tweaks. Pick the material and layer thickness and have the software orient your model and auto generate supports. Unlike filament printers where it’s ideal to have a nice, flat surface to put on the print bed, the Form 1+ needs models at an angle. Why? Because the peeling process becomes much more difficult and prone to failure with large surfaces. It’s like trying to peel a sticker off in one piece without it ripping. If you were printing a cube with a side directly on the print bed, it has to peel that whole surface versus a square positioned corner-down which would be a much smaller area to peel. By the time the printer gets to the middle of the cube, where there is a lot of surface area, there would be enough supports and mass generated that it would probably peel ok.

Ideally, the cube would be hollowed-out to both save material, time and making it more likely to print successfully. Since nothing will be laid flat, everything on the Form 1+ will print with supports, unlike filament printers where certain designs can print without supports. It It’s still a good idea to design models to use as few supports as possible to save on resin and post-print clean up. PreForm will automatically generate supports and indicate possible problem areas. There is the option to tweak support settings and even manually add and remove supports, which is nice. In general, the software did a good job but it is ‘dumb’, as it does not know what is the ‘good’ or visible surface of a model. You may want to manually orient models so the downside, or unseen side, faces the supports, this way, any marks the supports may leave will be hidden.

Familiar options such as shells (wall thickness) and fill (how solid the interior is) are absent from PreForm (and most resin printing software) since the model will print exactly how it’s modeled. A solid cube will print solid and use up a lot of material, so to save on time and materials, models should be hollowed with escape holes when possible, which will require additional modeling work. The Form 1+ needs to be connected to a computer via USB to upload the model--there is no SD card option. However, once the model is completely loaded into the printer, the computer can be disconnected. Uploading the model can take a few minutes, but nothing unreasonable and the print will start while the rest of the model uploads.

The Materials

Formlabs offers white, gray, black and clear resins which run $149 for a liter. I haven’t crunched the numbers on how this compares to filament, but it’s definitely more expensive. I filled a whole gallon bag, plus some, with prints from one bottle of resin, so it does go quite a long way. I tested the gray, black and clear which all produced nice prints. My favorite was the black which made details really pop. I didn’t like the gray as much since it was slightly translucent on many parts. The clear came out nice and can be polished to transparency, although it is prone to yellowing as it ages or if exposed to too much UV light.

I would describe the fully-cured resin as acrylic-like, as it can get brittle and I have snapped off thin pieces and edges. To confirm my suspicions, I dropped a failed print on the floor and it shattered into pieces, so prints should be handled with care. I don’t know if I would want to use them for mechanical parts, other than mock-ups, as I would feel more comfortable with ABS which has some give. Formlabs just released a castable material that can be used in ‘lost wax’ applications, which is excellent for jewelry makers. They also announced that a clear, flexible material is due anytime now and it looks promising.

The Bad Stuff First

Let’s get the bad out of the way first. The worst thing I can say is that in the two months I was testing the Form 1+ I went through three printers. Yep. The first one had a bad laser which caused every print to fail. The beam should normally be a pinpoint, but mine had a halo around it which was like painting with a rag versus a fine paint brush. The second had a spectacular fail with the peel motor, which moves the tray up and down. There was a horrible grinding noise and it pulled the tray down so far it rammed into the body of the printer. The tray was stuck in the down position and wouldn’t budge, meaning it couldn’t be removed or emptied easily. I had to let the printer sit open in the sunlight for a few days to cure all the resin left in the tray, so it could be shipped back.

The third printer worked like a champ and I got great prints on it until a few days after Norm and I shot the Form 1 video when the peel motor stopped working. This was different than the second unit, as I could move the tray up and down and even remove it. Turns out the peel motor uncoupled from the tray mechanism and could be fixed relatively easily, but it was time to send the printer back anyway.

I was a bit disappointed by the failures but I will say this - these are the typical things that go wrong with the Form 1+, Formlabs is aware of the problems and have been addressing the issues. I was also getting demo units that have been shipped all over and probably used more than a typical printer. Disappointing, nonetheless. Customer service was very good, prompt and thorough, but that could be biased by the fact that I was reviewing the unit. Although, I don’t think that’s how Formlabs operates, they seem to take customer service seriously and to be doing a pretty good job. I think for a Kickstarter project that wildly outperformed expectations, with a small group of people, they are doing pretty well.

Aside from the hardware failures, I would have occasional print failures, where the print would not peel properly and get stuck to the tray. When this happens you get a layer of resin baked to the tray bottom, which blocks the laser from adding to the model. The print is ruined and you have to very carefully use the included scraper to remove the baked on resin. This is nerve wracking as the bottom of the tray is a soft silicone and if you gouge or scratch it, your tray is toast. I was surprised that this wasn’t as bad as I thought it would be--I managed to get it clean every time without damaging anything.

After scraping off these baked-on bits you have to run a comb through the tank in order to sift out any stray bits that would ruin prints. Formlabs gives you every possible tool you need except for this--I used a regular fine-tooth hair comb. I asked Formlabs why they chose silicone and not glass and it comes down to the stresses that the peeling process causes on the tray. Their answer: glass would break. The biggest bummer concerning the tanks is the silicone will eventually start to cloud due to the laser. The clouding will then cause bad or failed prints and the tray must be replaced. Formlabs recommends moving the position of prints around the print platform to give all surfaces of the tank equal play, but ultimately after about 2 bottles of resin you should think about replacing your tank which costs $60. I don’t like that part at all, and hope to see improvements to extend the life of the resin trays.

There should be a dedicated tray for each type of resin you plan on using. It is technically possible to clean out and use the same tray for different materials, but it’s unrealistic and messy.

During my tests, I had three resin trays crack, one of which I thought was my fault, but upon further inspection they all cracked at the exact same spot - the back left corner where there’s a molded pour spout. I think this is a weak spot and the stresses of the peeling process may tend to crack the trays.

Finally, for a unit that relies on lasers and optics, the open body design is a problem and I feel it should be sealed in some way. Both my apartment and shop were a torture-test for the Form 1+, between NYC dirt, old building dirt, three cats, etc., the mirror would get dirty very easily. When the resin tray is removed, the interior of the printer is completely exposed, with the large mirror directly beneath the opening. As the repair tech at NYU Film and TV, I have a lot of experience and tools for cleaning lenses and sensors, but cleaning the mirror on the Form 1+ and getting it spotless and streak-free was really tough. If dirt gets on the smaller mirrors that direct the laser back inside the machine, cleaning would be particularly difficult. With this layout, it’s relatively easy to accidently get resin on the mirror and even a drop would be very bad and difficult to clean off. I spoke with Formlabs at NYC Maker Faire about this and they indicated that they had always wanted some type of sealed unit, but there’s only so much they could address and still keep costs down and, especially while doing a startup. I hope to see this improved in future units.

While not a bad thing per se, something to keep in mind when using the Form 1+ is that a dedicated workspace is needed for the printer and cleaning station. My MakerBot is crammed into the corner of my desk and that works fine, but the Form 1+ system needs more space. Ideally it would be in a clean area (ie. not your woodshop) and it needs a fair amount of space in the back to open the lid. There needs to be a spot for the cleaning station as well and keep in mind, that no matter how hard you try, resin and alcohol will get on this work area. I was trying to be tidy, but everything around the printer eventually got a little sticky.

The Good Stuff!

The prints I produced with the Form 1+ were very, very nice. I was really impressed with the detail on the miniature jetcar and the lightsaber turned out really well. Prints generally had a nice surface finish, supports were relatively easy to remove and sanding and painting is easily done. I felt that print times for this level of detail were totally reasonable and to be expected for SLA printing. Formlabs has a nice range of materials to work with especially with their new additions. I love how the machine looks and that it’s relatively quiet. Formlabs is obviously working on improvements and have been actively listening to feedback.

I like the PreForm software and don’t really have any bad things to say about it. It was straightforward and easy to use, it’s auto mode generally worked well, it was fast and gave just the right amount of tweaking options. Getting the printer running was a breeze and is overall easy to use, this is counterbalanced by the routine maintenance that must be done. You have to keep the mirror and bottom of the tray perfectly clean - fingerprints and excessive dust will ruin prints. You have to make sure the inside of the tank is clean and free of stray cured bits of resin. Unused trays and resin must be sealed and kept out of direct sunlight. The cleaning station will need cleaned and the alcohol changed out periodically. If you are a detail-oriented type, this should not be a problem and is worth it for excellent prints. If you run the Mr. or Ms. Messy Workshop, this is probably not the printer for you. I would not recommend this printer for most schools where students have direct access, unless highly supervised. If you are a jewelry maker, craftsman, into miniatures, a sculptor, ZBrush artist, etc, this would be an excellent printer for you.

So would I buy a Form 1+? As much as I like the prints, I personally would like to wait for their next gen machine which I hope would address some of the issues I had. I would also like to see them come out with a material that hits that sweet spot between their standard material and the flexible--something that is rigid with just a bit of give. Despite any problems I ran into, I really liked testing the Form 1+ and look forward to what Formlabs will do next. I think they have a solid foundation to work from and the Form 1+ will keep getting better. I also suspect that they will have a lot more competition down the road, especially from 3D Systems and Stratasys, the big guns in the field of 3D printing. If you would like to learn more about Formlabs (and MakerBot) I would highly recommend the Netflix Print the Legend documentary, which is an excellent behind-the-scenes look at not only 3D printing, but the world of Kickstarter and small startups.

Check out the video of Norm and I discussing the Form 1+.

Does America need a Left? Yes, very much. We need a Left that rejects a vision of politics based on the expansion of an unjust economic system, which is to say that we need a Left that rejects James Livingston’s advice that we “compromise with the world as it actually exists.” This is not a call to reject pragmatism, but rather to acknowledge that the “world as it actually exists” has for too long been defined through reactionary terms. We argue instead for an activist, avowedly anti-capitalist Left, one that seeks to tear away the constraints that have impeded necessary, fundamental change.

The Left, which for too long has capitulated to rules of engagement established by conservatives, needs to work to find alternatives to our present debt-financed society.

Unfortunately, this Left, though it exists in fragments, is overshadowed in the United States. Those who would claim the mantle of the Left have tried for too long to advance their goals by appeasing the Right, hoping, misguidedly, to find common cause and to compromise their way into a better world. The progressive movement—the institutions, think tanks, pundits, and politicians that currently stand in as the serious spokespeople of the Left—speaks of  “good jobs,” “economic growth,” and “regulated markets,” appealing to a mythical middle ground that has never and cannot exist. By capitulating the very terms of engagement to conservatives, progressives have distorted their message and acted against the interests they purport to serve.

America needs a Left that does not, as Michael Lerner noted, approach the question of social change in an “economistic” fashion. The progressives that dominate political discussion and action share in common a vision of change as emerging via market mechanisms. This mainstream Left is beyond rehabilitation. We believe, like Eli Zaretsky, that “progress is blocked by the same internal capitalist dynamic that created progress in the first place.” We must counter capitalism not by appealing to it, but by opening space for people to no longer be dominated by its logics. The demand for such a Left is undeniable. What’s missing is only the political will to see it through.

Read the rest of this article (co-authored with Henry Ostrom) in Tikkun.

An Australian newspaper congratulates Benedict Cumberbatch on his recent engagement. -mrsmo

Buying a multi-rotor can be a daunting experience. There are so many different models already on the market, with more emerging every day. Those choices represent a wide range of sizes, capabilities and quality, not to mention price points. In an effort to make the candidate pool a little less overwhelming, I have compiled an overview of currently-available multi-rotors. Consider it a snapshot of this ever evolving scene. Obsolescence will come quickly.

To make the list more manageable it has been abridged to include only those aircraft that meet the following criteria:

• Hobby Grade – Parts can be replaced or upgraded as needed.

• Ready-to-Fly (RTF) – The multi-rotor is ready to fly, or very nearly so when purchased. A transmitter is included. Smart phone controllers don’t count (sorry Parrot).

• Available from US retailers – No offense to our foreign readers. This criteria is meant to weed out the clones, and knock-offs of dubious origin.

The multi-rotors shown here have been divided into two categories: small and medium. The primary difference being that medium multi-rotors are capable of carrying an action camera such as a GoPro. Of course there are multi-rotors that would fit into large, X-Large, Jumbo, etc. categories. These ships are intended for hauling high-quality video equipment. Due to their complexity and cost, they should really only be considered by experienced pilots. So they have been omitted from this list.

I have chosen to include only RTF models simply because that is what most people prefer. With small quads, RTF is really the only option. There is nothing wrong with using an unassembled kit for your medium multi-rotor. In fact, there is a strong case to be made that building your own aircraft will provide you with a much better understanding of its inner workings and abilities. You just have to be willing to dedicate the time and effort required to get it assembled, outfitted and tuned.

Please note that this is not a ranking. I have personal experience with only a handful of the listed models. So any type of hierarchy would be disingenuous. Comparing listed features is one thing. Actually flying and exercising those features is quite another.

Small Quads

If you are new to multi-rotors, this is where you should be looking. These quads are ideal for learning the basics of multi-rotor piloting, but without the financial and safety risks associated with larger aircraft. With a few models selling for under $50, there really is no excuse to skip this important step in the learning process.

None of the small quads feature GPS capability. This means that they have no way to hold their position autonomously when the wind tried to blow them away. I think that learning to fly without GPS is a critical skill that will serve you well when you transition to a larger machine. GPS is a fabulous and useful tool, but it’s an unreliable crutch for those who can’t be bothered to learn basic flying skills. Being able to fly the aircraft manually when the GPS link is lost (it happens all the time) can get you out of a jam.

Some of the small quads include cameras as built-in or optional equipment. These cameras can be fun to play with, but I have yet to use one that provides high-quality photos or video (regardless of the camera’s advertised specs). If aerial photography is your end-game, you will find much improved results once you step into the medium category.

The larger quads in the small category can be a bit much for flying in confined indoor spaces…especially when you’re just starting out. So if you’re stuck in a cramped apartment, you’re probably better off with one of the “smaller” small quads. If you have access to a large indoor space such as a basketball court, it is a great stress-free training area. Outdoor areas can be useful too. Just be aware that areas close to buildings, trees, walls, can hide turbulent air when the wind is blowing.

In my opinion, the most important features to look for in a small quad are adjustable control sensitivity (via gyro settings, multiple flight modes, and/or dual-rate controls), a reasonably-sized 2-stick transmitter, and a dependable supplier for replacement parts (preferably local). The best way to address the third qualifier is to visit a local hobby shop and choose from the lines they carry. Local prices are often the same as those found at internet stores.

Brand	Model	Size*	Transmitter Size	Adjustable Sensitivity	Camera	FPV	Current Street Price
Align	M424	240mm diag	full	FM			$110
Ares	Ethos PQ	63mm long	small	FM			$50
	Ethos QX 130	205mm long	full	D/R	O		$100
	Ethos HD	292mm long	full	D/R	I	O	$170
	Ethos FPV	292mm long	full	D/R	I	I	$270
	Spectre X	100mm long	medium	D/R	I	O	$90
Blade	Pico QX	92mm long	small	D/R			$50
	Nano QX	140mm long	medium	FM, D/R			$90
	FPV Nano QX w/goggles	140mm long	medium	FM, D/R	I	I	$420
	180 QX HD	292mm long	medium	FM, D/R	I		$190
Dromida	Kodo	90mm diag	small	FM	I		$60
	Ominus	238mm long	medium	FM, D/R			$80
Estes	Proto-X	45mm long	small				$30
	Proto-X SLT	45mm long	medium	FM, D/R			$40
	Proto-X FPV	115mm long	full	FM/GR	I	I	$230
Heli-Max	1Si	123mm diag	medium	FM, GR, D/R	I		$140
	1SQ	123mm diag	medium	GR, D/R			$100
	1SQ V-Cam	123mm diag	medium	GR, D/R	I		$130
	230Si	230mm diag	medium	FM, GR, D/R			$150
	230Si w/camera	230mm diag	medium	FM, GR, D/R	I		$180
HobbyZone	Faze	45mm long	small				$40
Hubsan	H111	45mm long	small				$60
	H107C	70mm long	medium	GR	I		$50
	H107D FPV	140mm long	full	GR	I	I	$175
LaTrax	Alias	166mm long	medium	GR, D/R			$150
Syma	X1	not listed	full	FM			$30
	X3	220mm long	medium	FM			$40
	X4	140mm long	medium	FM			$35
	X5	310mm long	medium	FM			$50
	X5C	310mm long	medium	FM	I		$75
	X6	560mm long	full	FM			$75
	X11	152mm long	medium	FM			$30
	X12	45mm long	medium	FM			$25
Traxxas	QR-1	120mm long	medium	GR, D/R			$70
Walkera	Ladybird	85mm long	medium	D/R			$55
	Ladybird FPV	85mm long	medium	D/R	I	I	$255
	Infra X	108mm long	medium	D/R			$130
	Scorpion (6 motors)	118mm long	medium	D/R			$50

* Not all manufacturers use the sane measurement methods. Some provide the distance between rotor shafts, while others include the blade lengths. The values shown here are taken directly from the manufacturer's specifications.

** FM = Selectable flight modes, GR = Adjustable gyro rates, D/R = Dual rate controls - All are effective means of adjusting a quad's responsiveness

*** I - Included, O - Optional

All efforts have been made to ensure the accuracy of this information, but verify features and specifications with your retailer before making a purchase.

Medium Quads

Once you’ve mastered your small quad, you should be ready to move into a medium multi-rotor. You may choose a tri-rotor or hex-rotor, but all of the units that I found within my criteria are quads. In some cases, the actual size change from a small to medium quad may not be much at all. Regardless of their footprint, medium multi-rotors represent a significant uptick in power, weight, and complexity.

All of the medium ships utilize brushless motors and lipo batteries with three or more cells. This extra power is what allows them to haul a payload like a GoPro, fight strong winds, and reach impressive speeds. The same level of power can also pose a significant danger if not handled with adequate diligence and competency. At the risk of putting too fine a point on it, I’ll summarize by saying this: Always be smarter than your multi-rotor. In other words, just because you can get great aerial footage of your kid’s soccer game, doesn’t mean you should. In fact, you shouldn’t…it’s an awful idea.

When moving from a small to a medium quad, you will probably find that the larger vehicle is considerably easier to fly, especially in wind.

When moving from a small to a medium quad, you will probably find that the larger vehicle is considerably easier to fly, especially in wind. First of all, the medium ships are typically denser than the smaller quads, so they are less affected by the wind’s ambitions. Furthermore, the medium multi-rotors will often feature a larger and more precise suite of instruments and processors that stabilize it. When all systems are functioning properly, the electronic pixie dust inside a medium multi-rotor will handle most of the piloting workload. You just tell it where you want it to go.

While most people use medium multi-rotors for shooting photos or video, their power and agility also makes them fun sport models (with or without a camera attached). Many of the listed aircraft are capable of basic aerobatics such as flips and rolls.

As with small quads, I suggest that you first check availability at local hobby shops. If you plan to use your multi-rotor for aerial photography, you should definitely consider a model that includes a gimbal. Gimbals provide a huge improvement in the quality of your media by isolating the camera from the inescapable tilts and bobbles of the aircraft. Many gimbals also include the ability to reposition the camera during flight. A 2-axis gimbal provides stabilization in the pitch and roll axes.

3-axis gimbals add the ability to pan the camera without yawing the multi-rotor. Just keep in mind that the landing gear can obstruct the field of view with 3-axis gimbals unless there is a provision to reposition the camera or gear in flight. Some multi-rotors that do not include gimbals can be outfitted with add-on units whenever you’re ready.

You will find that a few of the medium quads come equipped with First Person View (FPV) systems. All of them can be outfitted with add-on FPV systems. Keep in mind that many FPV systems require an amateur radio technician license to operate legally. Legalities aside, FPV should be considered an advanced skill. It is my firm opinion that you should refrain from FPV until you have a solid grasp of the demands of flying a medium multi-rotor. Given the limited situational awareness, potential latency, and risk of video signal loss, FPV can be overwhelming for pilots with little experience.

Brand	Model	Size*	Camera	Gimbal	Stock FPV	Approx Street Price
3D Robotics	Iris+	550mm long	GP Hero 3 (not incl.)	optional 2-axis		$750
Blade	350 QX2	465mm long	GP Hero 3 (not incl.)			$450
	350 QX2 AP Combo	465mm long	C-Go1 (1080p/30)	2-axis	5.8GHz Wi-Fi	$700
	350 QX3	465mm long	GP Hero 3 (not incl.)			$500
	350 QX3 AP Combo	465mm long	CGO 2 (1080p/60)	3-axis	5.8GHz Wi-Fi	$1000
DJI	Phantom 1	350mm long	GP Hero 3 (not incl.)	optional 2-axis		$420
	Phantom FC40	350mm long	FC40 (720p/30)		2.4GHz Wi-Fi	$430
	Phantom 2	350mm long	GP Hero 3 (not incl.)	optional 3-axis		$550
	Phantom 2 Vision	350mm long	Integrated (1080p/30/60i)	1-axis (tilt)	2.4GHz Wi-Fi	$760
	Phantom 2 Vision+	350mm long	Integrated (1080p/30, 720p/60)	3-axis	2.4GHz Wi-Fi	$1100
	Inspire 1	438mm long	Integrated (4K/30)	3-axis	2.4GHz	$2900
Hitec	Q-Cop	not listed	Integrated (1080p/30, 720p/60)	1-axis (tilt)	Wi-Fi	$800
Walkera	QR X350 Pro	289mm long	GP Hero 3 (not incl.)			$365
	QR X350 Pro FPV	289mm long	iLook (720p/30)	2-axis	5.8GHz Wi-Fi	$900
	Scout	335mm long	iLook+ (1080p/30)	2-axis	5.8GHz Wi-Fi	$1600

* Not all manufacturers use the same measurement method. Some provide the distance between rotor shafts, while other include the blade lengths. The values shown here are taken directly from the manufacturer's specifications.

All efforts have been made to ensure the accuracy of this information, but verify features and specifications with your retailer before making a purchase.

Conclusion

Even with filters applied to create this list, I realize that there are likely a few models that I’ve missed within each category. None of these omissions are an intended slight. The multi-rotor market is just too dynamic and broad to catch them all…which, of course, is the whole reason for this list in the first place. I hope that it will help you narrow your search when you are ready to buy a multi-rotor (or two) for yourself.

Terry spent 15 years as an engineer at the Johnson Space Center. He is now a freelance writer living in Lubbock, Texas. Follow Terry on Twitter: @weirdflight

I had the incredible opportunity to interview one of my heroes a few weeks past. John Cleese and his five cohorts of Monty Python gave me the first laugh I shared with my parents. Cleese himself is not only in good shape for his 75 years, he’s surpassingly present, curious, generous and yes, funny. We even got to read one of his sketches together! I left for the tour the very next morning and I have to admit I’m still glowing. He brings the number of Pythons I’ve met to three (Gilliam and Jones being the others). I have rarely had such FUN doing an interview. I think I looked at the questions I wrote maybe three or four times total. That’s how far we ranged.

You may have heard about President Obama's recently announced plan to assist local law enforcement's acquisition, education, and use of new equipment. In addition to using Federal funds to help bolster frayed relationships between law enforcement and the communities they serve, the pitch also called for funding of body cameras to be worn by police officers--a $75 million investment for 50,000 cameras. But what does the use of those cameras mean in practice? The Electronic Frontier Foundation has a great breakdown of their concerns for the use of body cameras, and what they and the ACLU think needs to be addressed before implementation. And as for how body cameras have affected police departments already using them, The Atlantic has a report on the police department of Post Falls, Idaho, where body cameras use became mandatory in 2011.

Dec. 5, 2014: Hello, Cleveland! My day here started early. The awesome Len Peralta showed up at 8:30 and took me out to breakfast! [Norm's note: Len's also the co-host of the Creature Geek podcast!]

We talked a lot about kids, which is good because Len has about 37 of them.

Oh, a word about that skillet we're eating off of. I was gobsmacked to find that it’s not real. I mean, it’s real, but it’s not iron -- it’s plastic. Weighs nothing. I find that sort of dissonance hilarious and tried to buy one from the waitress. She went to ask the chef who GAVE ME TWO of them. Now I have two very convincing looking plastic skillets. I must find a proper prank to perform with one … (A nice prank.)

As Len gave me a ride back from breakfast he pointed out that Captain America: Winter Soldier was filmed in and around Cleveland. Like here for instance.

Then Len told me to go to a place called Big Fun. So I did. Wow! How rewarding that trip was!

A word about stores like Big Fun: I’ve been going to them for DECADES. I used to shop at Little Rickie in NYC. In fact I rented a storefront from owner Phillip Retzky in the late ‘80s (the original 1st and 1st location of Little Rickie, before they moved to 1st and 3rd).

Some friends and I ran a cooperative gallery out of that space for a year called Points of Departure. The East Village was only JUST becoming hip around that time. I mean, it was deep hip (Ann Magnuson hip) long before that, but it was getting popular hip (like Williamsburg in the early aughts) around that time.

I even visited the American Science and Surplus MOTHERSHIP in Chicago in the early ‘90s! And their second Chicago store. I didn’t know about their other store in Milwaukee until I was there on tour but I’ve been there too! I’ve also shopped at Archie MacPhee’s in Seattle. Made a special pilgrimage there with Mrs. Donttrythis on our honeymoon in the early aughts.

Anyway, so, kitsch toy stores and I go WAAAY back. And Big Fun is one I didn’t know about. What a great place. I got to talking to the owner and we didn’t stop for about an hour. I took some pix in his photo booth, bought a bunch of Xmas presents for everyone, and gave comps to his staff for the show that night.

Steve’s business card says “The Big Cheese.” Of COURSE it does. We had a lot to go over. What a great place. Their whole staff was super nice.

Back in NYC, an old girlfriend and I used to do photo booth pix all the time. Every time we saw one. That was one of our “things.”

The theater we’re performing in in Cleveland is called the Connor Palace. It’s one of the best houses I’ve played. So lively and vibrant in terms of sound. We weren’t quite sold out, but it sure sounded like it.

So all in all, Cleveland was awesome. Next stop: the Windy City.

While on tour for the Behind the Myths stage show, Adam is blogging about his adventures and exploration of each city he visits.

Other Entries:

• 11/21 - On the Road Again
• 11/22 - What a Jerk!
• 11/23 - RIGHT out of West Wing
• 11/24 - B-cycling and BBQ
• 11/25 - We Drove All Night
• 11/26 - A day of NOTHING
• 11/27 - Hello, Canada
• 11/28 - Family Day
• 11/29 - Adam Savage Fantasy Camp
• 11/30 - London Calling
• 12/1 - Beantown With Mrs. Donttrythis
• 12/2 - Where Art and Science Meet
• 12/3 - Hereeeee’s Hartford!
• 12/4 - Indiana Intrigue

In this surprisingly interesting video from Jerobeam Fenderson we watch (and listen) as he explains how to draw images using the visualizations of sound waves on an old analog Tektronix oscilloscope. To be clear: the images you’re seeing here are not being animated through software, instead Fenderson creates waveforms (sounds) using his computer, and those sound waves LOOK LIKE THIS when fed into an oscilloscope. Suffice to say there’s lots of math involved, and it’s all a little bit over my head, but luckily he answers some questions over on his blog about how it all works. Make sure to watch through to the end.

This will be a weekly three-part behind the scenes series: Lighting, Shooting, and Editing.

"Standups" are what I call the solo presented video segments we do at Tested--a term taken from the news industry, in which a reporter addresses the camera, usually to another anchor, or the audience. It's become a common internet video format: one person, in frame, talking to camera (audience) with coverage layered over. We do them with our Makerbot videos, Show and Tells, Product reviews, etc. Everyone approaches the lighting, shooting, and editing of these segments differently; whether it be natural lighting, close-up center frame (ie, webcam), lighting quick hard cuts, etc. Today, I'd like to share my process on how I approach the lighting for these segments, specifically the 12 Days of Tested Christmas video series for 2014.

Let me start off with this amazing illustration of my light direction and placement.

For this shoot I used 5 lights: 2 Background Lights, 1 Rear-Key Back Light, 2 Fills

• #1 Background Light, 650watt Arri, CTB half, medium flood/spot
• #2 Background Light, Kino Flo Diva-Light, half-cranked
• #3 Rear-Key Back Light, 650 Arri, CTB half, full flood
• #4 Lowel Rifa-Light Softbox, 75%
• #5 Kino Flo 4' Double

I wanted to stick with traditional omni-lit studio lighting for this shoot, while adding harder lights to help sculpt the subject. We recently redesigned and painted the set with much more color and props, naturally I wanted to show it off with background lights, but still contrast that with the subject.

Above is a short video I put together of each light's specific contribution to the scene. Let's walk through what each of those lights does for the shot.

The first (#1) background light is an Arri that gives a nice splice of hard light over the items in the background, throwing some shadows around, and the Kino (#2) helps fill some of those shadows and adds sparkly bits on the background props.

Throwing the 650 Arri, high and behind, would give me a harder key (#3, the highest value of all the lights in the studio), and help shape the back left of their head. To compliment and even that out, I then added the 4' Kino Bank (#5) to toss a soft even fill to finish that wrap around. I then kicked in the opposite end fill (#4) which is a Lowel Softbox that adds fill to the other side of the subject, and also increases the overall light value of the room.

All the lights were set to tungsten (3200k) except for background light #1, and rear key #3; those have Half-CTB gels (Color Temperature Blue) to cool down those background elements, so that the front facing subjects lights would seem warmer. Warming up the flesh tones while keeping background subjects slightly cool, will separate those two elements just a little bit more.

That's it. Pretty simple--a little more involved than a three-point lighting setup, but not by much. Our studio can go pitch black, so having full control of all lights can give me a chance to play with some nuances. You can see the results in the first 12 Days of Christmas video below.

I'd love to hear your thoughts and your own techniques, so feel free to comment below, or message me on twitter @joeyfameli.

Next week I'll talk about the Blackmagic Pocket Camera rig that I've built to replace our Panasonics for Standups and other field setups!

[This post was originally published on Joey's personal blog]

Adam, Norm, and Will share camping stories and strategies, after having a surprising discussion about the Teenage Mutant Ninja Turtles films.

Dec. 4, 2014: There’s an Indiana in Pennsylvania, you say? Wait, what? They even have an Indiana University of Pennsylvania just to confuse us all. Lest we get uppity, though, remember that Pennsylvania became a state on Dec. 12, 1787. Indiana didn’t become a state until Dec. 11, 1816. So … yeah. Looks like Indiana the state (Jamie’s home state, by the by) is the pretender to the throne here. The town in Pennsylvania predates the state.

Wait a minute. I’m getting some news here (that means I’m checking Wikipedia), and it looks like the town was incorporated the SAME YEAR AS THE STATE OF INDIANA. Ohhhh. Intrigue.

We’re going to have to settle this with some good old-fashioned arm-wrestling.

Anyway. Where was I? Right, Indiana the town. Christmas tree capital of the world. Birthplace of Jimmy Stewart at the location of the Jimmy Stewart museum. Our show was in a stadium, and again, it was sorta hard to hear the audience, but they made up for it by being SUPER LOUD. And awesome.

But before I get to the show, I did get out and do another round of thrift shopping: I headed over to Denise’s Antique Mall to do a little shopping. Wouldn’t you know it I forgot to take a pic of the place? It was quiet but packed with stuff, and I picked up this cool burner that looks like a microphone.

I think this “Where’s Jamie” is pretty easy, although I tried to get him to lie down on the ground and expose only his head. He refused.

Ah well. Like I said the crowd was PUMPED. We had a fun show, then I fell asleep on the way to Cleveland.

While on tour for the Behind the Myths stage show, Adam is blogging about his adventures and exploration of each city he visits.

Other Entries:

• 11/21 - On the Road Again
• 11/22 - What a Jerk!
• 11/23 - RIGHT out of West Wing
• 11/24 - B-cycling and BBQ
• 11/25 - We Drove All Night
• 11/26 - A day of NOTHING
• 11/27 - Hello, Canada
• 11/28 - Family Day
• 11/29 - Adam Savage Fantasy Camp
• 11/30 - London Calling
• 12/1 - Beantown With Mrs. Donttrythis
• 12/2 - Where Art and Science Meet
• 12/3 - Hereeeee’s Hartford!

Detail from page 351 of Family Man, now online!

(psst if you sign up for the Patreon at $5+, you can read the notes for last week’s page right away instead of waiting, like, three years!)

Happy international cheetah day ♥

Ads by Project Wonderful! Your ad could be here, right now.

Velocipede is a really fun word to say.

Velocipede.

Vellllocipede.

kittydoom:

sickomobb:

svllywood:

Ben Affleck speaks about Islamophobia X

ON BILL MAHERS ISLAMOPHOBIC ASS SHOW GO AWFF AND EID MUBARAK BROTHERS AND SISTERS

OMG im not mad at him for playing as batman anymore

You go on with your bad self, Ben Affleck.

Huh. 

Microbes play a key role in the function of ecosystems. They contribute to biodiversity (Fierer et al. 2012), nutrient cycling (Fenchel et al. 2012), pollutant detoxification (Kolvenbach et al. 2014), and human health (Gevers et al. 2012). Since they control … Continue reading →

It’s been One of Those Nights in the makeshift studio: the errors/shortcomings outstrip anything that might be working well, the floor is quite slanted, causing the modeling stand to drift, one cannot step back from the work, the persistent dry heat results in a nosebleed, and the garret’s ceiling is so low that even the vertically-challenged risk concussion if forgetful.  And the practice of this clay-mad vocation has been relegated to two or three hours per day (if that) for far too many months, which physically hurts.  So take a breath.  I’m still here.  Working around the clock. Knowing that this level of frustration always precedes a break-through. Remembering what is possible with perseverance.  Daily listing the little things one is grateful for. Admitting that at least the solution for the letters on the clay surface of this piece is approaching.  Trusting in the Unknown in all its forms.

I’m clenching one of the wooden letters so tightly in my fist that it has left its mark on me: Y.  I look down at the Pythagorean or Samian letter, ears burning:

High West released “A Midwinter Night’s Dram” Rye Whiskey earlier this year. It has taken some time to hit my area sadly, but I was finally able to procure a bottle. This whiskey is of the same blend of straight rye whiskeys that make up the distillery’s Rendezvous Rye bottling. It consists of a 16 year old rye whiskey from Barton distillery blended with a 6 year old 95% rye grain whiskey from Midwest Grain Products (MGP), formerly LDI. The final blended whiskey is then finished in both Port and French Oak barrels.

High West A Midwinter Nights Dram Rye Whiskey, 49.3% abv (98.6 proof), $85/bottle
Color: Medium Amber
Nose: Familiar MGP (Former LDI) Rye rounded with more sweet notes. Mint, cinnamon, and gin botanicals meet dried dark fruits and berry aromas. Vanilla caramel sweetness anchors the nose.
Palate: Caramel, vanilla, cinnamon, clove, raisin, and red berry syrup. Nice oak grip and balanced barrel notes.
Finish: The port finish lingers – dark fruits, caramel, and warm spices.
Overall: A Midwinter Night’s Dram is a delicious mingling of rye whiskeys enhanced by the finishing process, not overcome by it. In this case the fruitier, richer aromas and flavors from the port balance the base rye’s bright notes. In an industry that has seen independent bottlers go from sourcing whiskey and placing their label on it, to sourcing whiskeys and shoving it in a finishing barrel, any barrel, it’s nice to see a deft hand with finishing yield an improved product. Well done!
Sour Mash Manifesto Rating: 9.2 (Superb)

“When I was a freshman, my sister was in eighth grade. There was a boy in two of her periods who would ask her out every single day. (Third and seventh period, if I remember correctly.) All day during third and seventh she would repeatedly tell him no. She didn’t beat around the bush, she didn’t lie and say she was taken—she just said no.
One day, in third period, after being rejected several times, he said; “I have a gun in my locker. If you don’t say yes, I am going to shoot you in seventh.”
[[MORE]]
She refused again, but right after class she went to the principal’s office and told them what happened. They searched his locker and there was a gun in his backpack.
When he was arrested, some of my sister’s friends (some female, even) told her that she was selfish for saying no so many times. That because of her, the entire school was in jeopardy. That it wouldn’t have killed her to say yes and give it a try, but because she was so mean to him, he lost his temper. Many of her male friends said it was “girls like her” that made all women seem like cockteases.
Wouldn’t have killed her to say yes? If a man is willing to shoot someone for saying no, what happens to the poor soul who says yes? What happens the first time they disagree? What happens the first time she says she doesn’t want to have sex? That she isn’t in the mood? When they break up?
Years later, when I was a senior, I was the only girl in my Criminal Justice class. The teacher, who used to be a sergeant in the police force, told us a story of something that had happened to a girl he knew when she was in high school. There was a guy who obviously had a crush on her and he made her uncomfortable. One day he finally gathered up the courage to ask her out, and she said no.
The next day, during an assembly, he pulled a gun on her in front of everyone and threatened to kill her if she didn’t date him.
He was tackled to the ground and the gun was taken from him. When my teacher asked the class who was at fault for the crime, I was the only person who said the boy was. All the other kids in the class (who were all boys) said that the girl was, that if she had said yes he would’ve never lost it and brought a gun and tried to kill her. When my teacher said that they were wrong and that this is what is wrong with society, that whenever a white boy commits a crime it’s someone else’s fault (music, television, video games, the victim) one boy raised his hand and literally said; “But if someone were to punch me and I punched him back, who is at fault for the fight? He is, not me. It’s self-defence. She started it, so anything that happens to her is in reaction to her actions .It’s simple cause and effect.”
Even though he spent the rest of the calss period ripping into the boys and saying that you are always responsible for your own actions, and that women are allowed to say no and do not have to date them, they left class laughing about how idiotic he was and that he clearly had no idea how much it hurt to be rejected.
So now we have a new school shooting, based solely on the fact some guy couldn’t get laid, and I see men, boys, applaudin him, or if they’re not applauding him, they’re laying blame on women as a whole. Just like my sister’s friends did. Just like the boys in my Criminal Justice class did.
This isn’t something that’s rare. This isn’t something that never happens, or that a select group of men feel as if they are so entitled to women that saying no is not only the worst possible thing a woman can do, but is considered a form of “defence” when they commit a crime upon them (whether it be rape or murder-as-a-reaction-towards-rejection).
Girls are being killed for saying no to prom invites. Girls are being killed for saying no to men. They are creating an atmosphere where women are too scared to say no, and the worst part is? They are doing it intentionally. They want society to be that way, they want women to say yes entirely out of fear. Even the boys and men who aren’t showing up to schools with guns are saying; “Well, you know, I wouldn’t do that, but you have to admit that if she had just said yes …”
If you are a man and you defend this guys’ actions or try to find an excuse for it, or you denounce what really happened, or in any way lay blame on women, every girl you know, every woman you love, has just now thought to themselves that you might lose your shit and kill them someday for saying no. You have just lost their trust. And you know what? You deserve to lose it.”

-

cry laugh feel love peace panic:  

"Wouldn’t have killed her to say yes? If a man is willing to shoot someone for saying no, what happens to the poor soul who says yes? What happens the first time they disagree? What happens the first time she says she doesn’t want to have sex? That she isn’t in the mood? When they break up?" -vampmissedith.tumblr.com

THIS IS MANDATORY READING!

(via feminist-space)

EVERYONE STOP WHAT YOU’RE DOING AND READ THIS.

(via stfueverything)

heatherbat:

deerishus:

I can’t resist centaurs have been all over my dash lately, so i’m starting a group of teen punk centaurs with dyed tails and bad words shaved into their sides, and studded jackets and spiked horseshoes YEAH. YEAH.

omg punk taur. best.