KWBaker

Al Capone's favorite pistol, which he called 'sweetheart', is coming up for auction this October.

Visit Uncrate for the full post.

Land Rover celebrates the long-awaited release of No Time To Die with a limited-edition Defender.

Visit Uncrate for the full post.

Pierpaolo Lazzarini is converting the General Lee and other classic cars into personal watercrafts.

Visit Uncrate for the full post.

CHAMPAIGN, Ill. — Avocados are already widely considered delicious and nutritious. Now, a new study reports eating an avocado a day could help women reshape and reduce belly fat. Researchers from the University of Illinois Urbana-Champaign tracked a group of women for three months. Those who consistently ate one avocado daily saw a drop in deeper visceral…

The post An avocado a day keeps belly fat at bay in women, researchers say appeared first on Study Finds.

Offered through Driver Source, the 430 hp restomod includes an amenities chest made with wood from an 1887 farmhouse.

Last year, amid a global pandemic, BMW Motorrad introduced a motorcycle that is a very big deal for the company. With the introduction of the R 18, BMW entered the traditional cruiser segment, a distinctly American category that has long been dominated by Harley-Davidson.

Just as Harley-Davidson is known for V-Twins, BMW is known for horizontally opposed Twins called “boxers.” To compete in the world of heavyweight cruisers, there’s no replacement for displacement. BMW created what it calls the “Big Boxer” that displaces 1,802cc, or 110 cubic inches – much larger than the 1,254cc boxer in most of BMW’s R-series models like the R 1250 RT.

Soon after the standard R 18 came the R 18 Classic, which is equipped with a windshield and semi-soft saddlebags. For 2022, BMW has further expanded the lineup with two touring models, the R 18 B and R 18 Transcontinental. Both are equipped with a fork-mounted fairing, a full infotainment system, hard saddlebags, and other amenities. The Transcontinental also has a top trunk with an integrated passenger backrest.

BMW invited Rider to ride both models at their U.S. press launch in Denver, Colorado. And after the one-day press ride, I spent four days riding an R 18 Transcontinental (TC) more than 1,500 miles through five states with my wife as a passenger and the luggage packed full of gear.

We’ll have an in-depth road test review soon. Here are our top 10 highlights of the new bikes.

1. They Rock better than they Roll

BMW’s “Big Boxer” makes a claimed 91 horsepower and 116 lb-ft of torque at the crank. When we put the R 18 on Jett Tuning’s dyno late last year, its shaft-driven rear wheel spun the heavy drum to the tune of 80 horsepower at 4,500 rpm and 109 lb-ft of torque at 2,900 rpm, which is about what you’d expect after accounting for power loss through the drivetrain.

The R 18s have three ride modes – Rock, Roll, and Rain – that alter throttle response, idle character, engine-drag torque control, and traction control intervention. In Rock mode, the R 18s feel lumpy and shake a lot at idle, and their throttle response is direct. But in Roll and Rain mode the bikes feel dull and lifeless, like a middle-aged couple nodding off at an AC/DC concert.

2. Who doesn’t like big jugs?

Ahem. Get your mind out of the gutter. We’re talking about cylinders here. With 901cc jugs sticking out of both sides of the bike, there’s no getting around the size of those things. They are a distinctive styling element, with prominent cooling fins and chrome pushrod tubes.

Even on really hot days – when riding across northern Arizona and southern Nevada, Carrie and I dealt with temps ranging from the high 90s to 113 degrees – the cylinders don’t put out excessive heat felt by the rider and passenger, nor do the exhaust pipes. But they do trap the rider’s legs behind the cylinders, limiting options to stretch out during long stints in the saddle.

The cylinders are too wide for highway pegs, so BMW offers accessory chrome-plated leg rests so riders can stretch their stems with calves atop the cylinders, as shown in the photo above. The leg rests weren’t available on the press ride or our ride-away. I tried resting my jean-clad legs atop the cylinders, but that lasted about half a second because those big jugs get hot to the touch.  The TC has highway bars in front of the cylinders and my legs are long enough that I was able to put my heels on them and mostly straighten out my knees.

3. Leave the riding to us

Thanks to the proliferation of throttle-by-wire, cruise control has become a common feature on all sorts of motorcycles, even sportbikes. It’s especially helpful on long, multi-day rides when even moderate tension in the rider’s arm while maintaining steady throttle can lead to sore wrists and achy shoulders.

On the R 18 B and Transcontinental, BMW takes things a step further with optional Active Cruise Control (ACC). Embedded in their front fairings are radar sensors that scan the lane in front of the bike when cruise control is activated. If a vehicle is detected in front of the bike, the system will automatically reduce speed to maintain a fixed distance (both speed and distance are adjustable). Using inputs from the lean-angle sensors, ACC will also adjust speed to assist with safer cornering.

ACC works really well, and it isn’t affected by vehicles in adjacent lanes. This is one of those features you don’t think you need or want until you use it.

4. My, what a big TFT you have!

Most premium motorcycles are equipped with TFT (thin film transistor) instrument displays that offer nearly infinite variation for graphics, color, animation, etc. BMW has offered TFTs on some of its models for several years, but none approach the size of the TFT embedded in the fairing on the R 18 B/TC. It measures 10.25 inches on the diagonal, which is at least a couple of inches more than the largest TFT we’ve seen on other bikes. The thing is like a billboard, and its default background is a copper-colored illustration of the Big Boxer.

Using BMW’s proprietary Multi-Controller wheel on the left grip, navigating through menus is a breeze and keeps the number of buttons to a minimum. But, unlike the Indian’s Ride Command system, the hardened, glare-resistant glass screen isn’t touch-enabled.

5. If it’s too loud, you’re too old

If you’ve seen amps on stages or stood next to huge stacks at a rock concert, then you’re familiar with the cursive script of the Marshall logo. In the movie “Spinal Tap,” there’s even a Marshall amp that goes to 11. BMW partnered with Marshall to create an audio system for the R 18 B and TC, and it rocks.

The standard setup has two 25-watt speakers embedded in the front fairing. The Premium Package on the R 18 B upgrades to the Marshall Gold Series Stage 1, which adds two 90-watt subwoofers in the lids of the top-loading saddlebags (eliminating half a liter of storage capacity) and brings total output up to 230 watts. The Premium-equipped R 18 TC gets the Marshall Gold Series Stage 2, which adds yet another pair of 25-watt speakers to the passenger backrest, for a total of 280 watts.

6. Get out of my way

To complement the classic lines of the R 18, the fork-mounted fairing has a streamliner shape that tapers at the sides, providing wind protection for the rider’s hands. There’s a single round headlight that uses LEDs for low and high beams, and there’s an optional Adaptive Turning Light that swivels +/- 35 degrees to illuminate the inside of curves during cornering.

The fairing parts the wind smoothly, though airflow over the R 18 B’s short windscreen hits the rider’s helmet while airflow over the R 18 TC’s tall windscreen goes over the rider’s head. During our multi-day ride, my wife said she enjoyed the calm pocket of air and never dealt with helmet buffeting like she has on some touring bikes.

Neither windscreen offers height adjustment, which is disappointing, especially on such premium machines. The top edge of the TC’s screen was right in my line of sight, which was distracting during back-and-forth cornering in the Rocky Mountains. While the tall screen provided welcome protection from cold wind when temps dropped into the 40s on Colorado’s Million Dollar Highway (U.S. Route 550), I wished I could lower it when the mercury rose into triple digits several hours later in northern Arizona.

7. Galaxy Dust metallic would have made Prince jealous

Offering an iridescent paint scheme that changes from purple to blue depending on how the light hits it seems a little out there for BMW. And in the studio photos, it looks garish. But in person Galaxy Dust metallic it looks undeniably cool, and the color variations are more subtle than the photos suggest. The colors are darker, the metal flake really pops in bright sunlight, and the Titanium Silver 2 metallic on the gas tank and fairing adds nice contrast.

Such a unique, factory-custom paint job doesn’t come cheap. It will set you back $2,400.

If it were possible to make a sequel to “Purple Rain,” an R 18 B in Galaxy Dust metallic / Titanium Silver 2 metallic with a custom his-and-hers seat and sissy bar would be Prince’s motorcycle of choice.

8. Two peas in a pod

For long-haul touring motorcycles, rider and passenger comfort is critically important. Carrie and I rode more than 1,500 miles on the R 18 Transcontinental over four days, averaging nearly 400 miles per day. Except for the final day on I-15 through the Mojave Desert, we logged most of our miles on scenic roads full of hairpins, high-mountain passes, and steep grades.

As mentioned above, the cylinders of the Big Boxer limited my ability to move my legs around during long stints in the saddle. But the seat and riding position were comfortable, and the footboards allowed me to move my feet around to adjust the position of my hips and knees.

Carrie’s first-ever ride on a motorcycle was on a Honda Gold Wing back in 2009, and she’s measured every passenger seat and backrest since against that experience. With a low rider seat height of 29.1 inches on the TC and a passenger seat just a few inches higher, Carrie, who has short legs, found it easy to climb on and off the bike, aided in part by the passenger footboards. And once aboard, she found the seat to be all-day, day-after-day comfortable and the wrap-around backrest to be reassuring.

9. A place for my stuff

As George Carlin once said, “That’s all you need in life, a little place for your stuff.”

The top-loading saddlebags on the R 18 B and TC offer 27 liters of storage each, or 26.5 liters with the Marshall subwoofers installed in the lids. Styling-wise, the bags look great. Function-wise, they are fairly narrow, which presents some challenges with packing (BMW offers accessory drop-in liner bags that should make the process easier). But they open and close easily, with pop-up levers and central locks. The top trunk on the TC holds 48 liters (47 liters with optional audio), and it is spacious and easy to open/close/latch even when filled to the brim.

In the top of the 6.3-gallon fuel tank is a waterproof compartment for a smartphone. There’s a USB socket for charging and connecting the phone to the bike (navigation is provided via the free BMW Connected app). And since smartphones get hot, the compartment is ventilated with an electric fan. But the smartphone compartment does not lock, so riders must remember to take their phones with them when they park their bike. How else would you check Instagram?

10. Heavy is as heavy does

Heavyweight cruisers come by that description honestly. The 2021 Indian Roadmaster Limited we tested weighed 895 pounds. The 2020 Harley-Davidson Road Glide Limited we tested weighed 922 pounds. The 2022 BMW R 18 B weighs 877 pounds and the R 18 Transcontinental weighs 941 pounds, and that’s before you add the Premium Package and other options/accessories. Part of that major poundage comes from the Big Boxer and its 6-speed gearbox, which weighs 244 pounds – about 35 pounds more than a Honda Grom.

Greg’s Gear:
Helmet: HJC RPHA 90S
Jacket: Vanson Stormer
Gloves: Highway 21 Trigger
Pants: Fly Racing Resistance Jeans
Boots: Sidi Gavia Gore-Tex

BMW beefed up the R 18 frame to accommodate the added weight of the fairing, saddlebags, and trunk. Total permitted weight is 1,389 pounds, which translates to a load capacity of 512 pounds on the R 18 B and 448 pounds on the R 18 Transcontinental. Compared to the standard R 18, the B and TC also have a shorter wheelbase (66.7 inches, down from 68.1) and sharper rake (27.3 degrees, down from 32.7 degrees) but more trail (7.2 inches, up from 5.9). Even though the B and TC are heavier, they handle better.

Like most touring bikes, you mostly notice the weight when you lift it off the sidestand or move it around a parking lot or garage. Fortunately, our test bike has the optional reverse gear installed, which helped when moving the bike around on an incline. Out on the road, the heavy bikes trundle along just fine. And when the road gets windy, they handle well within the limits of other heavyweight touring cruisers.

We’ll post our full review soon, so stay tuned!

2022 BMW R 18 / R 18 Transcontinental Specs

Base Price: $21,945 / $24,995
Price as Tested: $29,065 / $31,695
Website: bmwmotorcycles.com
Engine Type: Air/oil-cooled, longitudinal opposed flat Twin, OHV w/ 4 valves per cyl.
Displacement: 1,802cc (110ci)
Bore x Stroke: 107.1 x 100.0mm
Horsepower: 91 hp @ 4,750 rpm (claimed, at the crank)
Torque: 116 lb-ft @ 3,000 rpm (claimed, at the crank)
Transmission: 6-speed, hydraulically actuated single-plate dry slipper clutch
Final Drive: Shaft
Wheelbase: 66.7 in.
Rake/Trail: 27.3 degrees/7.2 in.
Seat Height: 28.3 in. / 29.1 in.
Wet Weight: 877 lbs. / 941 lbs. (base models)
Fuel Capacity: 6.3 gals.
Fuel Consumption: 42.5 mpg (R 18 Transcontinental, as tested)
Estimated Range: 268 miles (R 18 Transcontinental, as tested)

The post 2022 BMW R 18 B and R 18 Transcontinental | Top 10 Review first appeared on Rider Magazine.

"Friends may come and go, but enemies accumulate."

submitted by /u/AwesomeFrito [link] [comments]

submitted by /u/Hesh707 [link] [comments]

We asked a dozen masters of beer and brewing to name which beers every drinker should try at least once in their lifetime.

From Bulleit to Pappy and, yes, even Fireball, these are the bottles any would-be whiskey drinker needs to open at least once.

Almost a week after Hurricane Ida, 640,000 customers, or more than one quarter of Louisiana households, are still without power and unable to recharge any electric vehicles they might own.

Houseplants are a little like rabbits. They have a tendency to multiply really quickly. You might bring home a little spider plant cutting to pop in some soil, and before you know it, you have a full-on windowsill garden.

No judgment. We’ve all been there.

But then you hit a snag. Your first snake plant, your cute little cactus, your squishy succulent, those plants were all easy to care for. Some light, not too much water, and they pretty much took care of themselves. When you start looking to expand your collection, that’s when things get more difficult. If you’re the kind of person who is excited about checking the PH levels of water and setting up hydroponic lamps for your rare tropical plants, that’s amazing. Continue on in good health. But for the rest of us (ahem) lazier plant owners, here are a few rare plants that will look amazing on your shelf but aren’t too fussy to care for.

Philodendron

There are hundreds of types of philodendron plants, and the vast majority are incredibly easy to care for. They need bright, indirect light, and you can let the soil dry out almost completely between waterings. The plants are also incredibly adaptable, so you can let the plant grow and trail on its own or direct it up a trellis. Most philodendrons also grow large leaves that look stunning, letting you take all the Instagram clout without breaking your back.

Hoya

Hoya is a tropical plant, but don’t let that throw you off. It is supremely easy to care for, and it can reward you with beautiful flowers with just a little bit of effort. Hoyas are sometimes called wax plants, because they produce dark green, waxy leaves and a lovely sweet scent. Hoyas should always have good drainage in their pots, as they’re sensitive to overwatering, but they do like to be on a schedule. Once you give them some bright light and find a watering routine, these guys will live forever.

Pitcher Plants

Now we’re talking. Pitcher plants are eye-catching, with colorful leaves that form tubes known as pitfall traps. Traps? That’s right, pitcher plants are carnivorous. These plants won’t just look cool, they’ll also help you get rid of unwanted flies and bugs that wander into your space. Even though they look finicky, pitchers are fairly adaptable to indoor environments. Most need bright light, and the soil should be kept moist but not drenched. You can also hand-feed a dried insect into their trap every few weeks, if they haven’t caught any themselves.

Air Plants

Talk about easy — these plants don’t even need soil. Out in nature, air plants usually grow on tree branches, and they develop thin leaves that spike out from the center of the plant. For indoor gardens, air plants do well in small glass terrariums, but they can also be placed nearly anywhere. They need indirect light and love a warm temperature. Keep them out of direct sun but near a window and they’ll be happy. As for watering, once a week or so, place the plant in a bowl or jar with enough water to submerge them. Leave them alone to soak for about 20 minutes, then let the plant drain on a towel before it goes back to its home. Voila!

Pilea

Also known as the Chinese money plant, pilea are originally from southwestern China. The plant is supposed to bring good luck, and it got its nickname because its leaves look like large coins.  Now, they’re grown all over the world, as they’re easy to care for and look great. They sprout round, flat leaves off of a central core, and they tend to stack on top of each other. Keep these guys out of direct sunlight or their leaves could get scorched. The soil also needs to dry out in between waterings, so this is a perfect plant if you don’t want to make the rounds with a watering can every day. Their large leaves can get a little dusty, so every once in a while, give them a wipe down with a wet cloth and you’re good to go.

The post 5 Rare Plants That Are Surprisingly Easy to Care For appeared first on Modern Farmer.

Employees are leaving companies in droves in what is now called The Great Resignation. Yet, understanding these five motivating factors that entice workers to stay (or go) can help leaders retain their workforce and improve their companies.

Up your healthy eating game with these wholesome plant-based bowl recipes that you can whip up for breakfast, lunch or dinner.

In June 1961, inside a tower on Manhattan’s 7th Avenue, independent producers Albert “Cubby” Broccoli and Harry Saltzman walked into a room with 10 executives from the film studio, United Artists. 

They were confident, if slightly anxious. Their option on a series of spy novels by author Ian Fleming expired in a month, and Columbia Pictures had already turned them down.

This time, after 45 minutes and a handshake, they secured $1m to produce a movie. 

In the 60 years since that handshake, James Bond has become one of the most enduring franchises in Hollywood. The films have grossed ~$7B at the global box office (~$18B accounting for inflation).

Through all 25 movies, the Broccoli family has maintained creative control of the franchise, weathering lawsuits, a rotating cast of studio executives, and the threat of bankruptcy. 

The latest in the series, “No Time To Die,” opens in October in the US. If the deal is similar to past movies, the Broccolis will net ~10% of global box office revenue. In the past, that amounted to ~$100m off a single Bond film.

In a world where massive corporations gobble up successful players in the entertainment industry, James Bond remains a family business. 

The deal of a lifetime  

In late spring 1961, Ian Fleming was growing increasingly disenchanted with the entertainment industry. 

He had been writing a Bond novel every year since 1952 to great commercial and critical acclaim. Filled with eccentric villains, pithy dialogue, and endless sexcapades, the books seemed destined for the silver screen.

Ian Fleming (1908-1964), the creator of James Bond, smoking a cigarette in 1960. (Horst Tappe/Hulton Archive/Getty Images)

But Fleming’s prolific output wasn’t initially rewarded.

According to Cubby Broccoli’s autobiography, When The Snow Melts, all Fleming received for his 1st novel, Casino Royale, was $1k from CBS to turn it into a forgettable live TV special. (A producer later bought the film rights to Casino Royale for $6k, but nothing ever came of it.)

“The film and television world in America,” Fleming wrote to his friend Henry Morgenthau III, “is a hell of a jungle.” 

His last hope seemed to be producer Harry Saltzman, who in 1960 purchased the rights to all Bond novels (except for Casino Royale) for $50k and pledged an additional $100k for every book that became a film, according to Nobody Does It Better, an oral history of the Bond franchise.  

Saltzman’s problem was he lacked connections at the premier studios. Fortunately, he knew somebody who knew somebody who did. And that somebody had been eyeballing the rights to Fleming’s novels for a while. 

Cubby Broccoli (born 1909) was a Long Island native who descended from an Italian family renowned for farming — you guessed it — broccoli. 

After moving to Hollywood in his 20s, he befriended Howard Hughes at a bar. The film tycoon liked Broccoli and gave him a break as an agent. He went on to represent megastars like Lana Turner and Ava Gardner before eventually striking out as an independent producer.

Broccoli convinced Saltzman to give him a 50% cut of the Bond rights in exchange for using connections to seal a major film deal. 

And that’s exactly what he did in the summer of 1961 when United Artists pledged $1m for the 1st Bond movie.

Cubby Broccoli on the set of ‘Octopussy’, with a stuffed tiger, in 1982. (United Artists/Michael Ochs Archive/Getty Images)

According to Broccoli’s autobiography, the deal was a 60-40 split of profits, with Saltzman and Broccoli sharing the 60%.

Financiers regularly shared profits evenly with producers. But the $1m budget was somewhat of a gamble. Out of the ~2.5k movies released in 1960, fewer than 30 made $1m at the box office, according to IMDB.

“It was in many ways for UA another movie deal,” Steven Jay Rubin, a Bond historian and author of The James Bond Movie Encyclopedia, tells The Hustle. “I don’t think anybody knew what the future would hold. They didn’t even know if they would make a 2nd movie, let alone make a series like this.” 

At first, it looked like United Artists would regret the decision.

Immediate profits

When the lights came up on the 1st test screening for the 1st Bond film, “Dr. No,” nearly every UA executive was silent. Saltzman later recalled that the one exec who spoke said, “The only good thing about the picture is that we can only lose $840k.”

“Dr. No” felt campy. But soon UA discovered campy was good. 

With its psychedelic tone apparent from the opening sequence, the film fit right in with the new cultural shift of the ‘60s.

Though “Dr. No” grossed $41m at the international box office after its October 1962 release, UA was still skeptical about the film’s appeal for US audiences. So, before entering the expensive New York and Chicago markets, the studio tested whether Americans would embrace a European hero by premiering it in small Oklahoma towns. 

Audiences in Muskogee, Ada, Ponca City, and beyond loved it. “Dr. No.” went on to gross $16m — the 7th best showing for any North American film in 1963. 

An ad in the Muskogee Times-Democrat for a May 1963 showing of “Dr. No” at the local Ritz. (Muskogee Times-Democrat via Newspapers.com)

After the theaters took their half of the box office proceeds, Broccoli and Saltzman likely earned ~$5m-$10m each — far more than many independent producers would make in a full career. 

They structured their partnership in a way that maximized profits and, controversially, limited their British tax burden.

• Their Britain-based production company, Eon (short for “everything or nothing”), made the films. 
• Another business, Danjaq, acted as the holding company for the Bond rights. Danjaq was first incorporated in Switzerland and later in Delaware. Most profits flowed to Danjaq.

Broccoli also negotiated for creative control.

With Saltzman, he determined the settings, the director, the actors who played Bond, the product placements, and just about every detail that went into the movies. 

“Cubby probably sensed he was on to something. So he probably tried to strike the best possible deal,” Rubin says. “And because he had such a good relationship with UA, I think he was able to do that.”

For the sequels, Broccoli and Saltzman pushed for increasing budgets, countering the Hollywood tendency at the time to be cheap and formulaic for the 2nd go-round. Audiences knew the films would be spectacles and hew to certain Bond rules while still evolving with the culture. 

In 1979, UA reported it had made $163m (~$600m today) off Bond movies in North America alone, suggesting Broccoli would have earned roughly half that amount — and that figure didn’t take into account international revenues. 

The Hustle

The secret to Bond’s success, Broccoli believed, was that the movies were fun.

“We’re not out to capture the Academy Awards,” he told The New York Times after “Moonraker” premiered in ‘79. “We’re out to make an entertainment.”  

Hanging on through turmoil 

Cubby Broccoli’s original partner didn’t last.

Saltzman made a series of bad investments, particularly in Technicolor Inc., and used his share of Danjaq as collateral. The creditors came calling, and Danjaq was at risk of going into receivership until Saltzman sold his stake to UA. 

At 66, Broccoli became sole producer and pushed on through obstacles that could sink any business:    

• UA cratered in 1981 after financing “Heaven’s Gate” — one of the worst financial flops of all time — and was purchased by MGM, which became the new studio partner for the Bond films. 
• Sean Connery sued Danjaq and MGM for $225m in 1984 for allegedly failing to pay him the correct amount of backend profits for his work as Bond.
• Infamous Hollywood crook Giancarlo Parretti took control of MGM in the early ‘90s, and no Bond movie was released for 6 years as Danjaq waged litigation. 

Broccoli stayed laser-focused on Bond throughout the ordeals. Unlike Saltzman, he didn’t care about side projects and becoming a mogul.

“He just loved being on the set,” his daughter Barbara Broccoli said on a 2009 show commemorating Cubby’s life. “It was a real family atmosphere and the people on the crew were his friends. So he didn’t see the work as arduous. He found it really stimulating and exciting.” 

The Hustle

Broccoli died in 1996. In one of his last published notes, he emphasized that he and his wife, Dana Broccoli, who died in 2004, always measured their success by something other than Bond. 

“It exists in the bright intelligence and mutual devotion of our children,” he wrote. 

And the Broccoli children have been just as successful as Cubby.  

The kids are alright, but Amazon might not be

Michael Wilson, Cubby’s stepson, and Barbara Broccoli took over the franchise starting with the 1995 film, “GoldenEye.”

They have followed a similar playbook to their father, controlling the most important creative details and insisting on keeping Bond as a bespoke, limited-edition product.

This clashes with the norm in an era when top Hollywood intellectual property — like Disney-owned Marvel and Star Wars — is packaged by massive studios into infinite spinoffs and streaming shows. 

“Business textbooks are filled with the stories of incredibly successful businesses that were passed on to the disinterested next generation and seemed like they could not fail and failed,” says John Cork, a Bond historian and author of James Bond: The Legacy.

“That has not been the case with Bond. [Barbara Broccoli and Michael Wilson] have stepped up to the plate creatively over and over again.” 

Because of the various shake-ups with UA and MGM — and Hollywood’s penchant for being more guarded about finances than in the ‘60s — the particulars of the profit-sharing arrangement are closely guarded.

The Hustle

What’s clear is Broccoli and Wilson reap a windfall from every film, while MGM and distributors like Sony and Universal cover the lion’s share of the costs:

• In 2004, the Los Angeles Times pegged Danjaq’s take for every film at 20%-35% of profits. (Danjaq reportedly also gets “first-dollar gross,” meaning Broccoli and Wilson start collecting before the costs are covered.) 
• A document from the infamous Sony hack showed MGM made ~$179m for the $1.1B-grossing “Skyfall.” Danjaq, according to a hacked memo discovered by the WSJ, picked up around $109m. Despite covering half the cost, Sony made just $57m.  

But even for a family business that’s operated amid studio turmoil since the 1980s, a new challenge awaits. Amazon acquired MGM in May for ~$8.5B. 

“Skyfall” co-writer John Logan fears the Bezos machine will “want more, not better.” So will there be a Moneypenny Amazon Prime series? An origin story about the Christophe Waltz-played villain Ernst Stavro Blofeld? 

The pressure to produce and the temptation to sell could be greater than ever. 

But Michael Wilson and Barbara Broccoli, who declined an interview request through their publicist, know how to fight for the franchise. Broccoli summed up their motivation in an interview featured in the “Diamonds Are Forever” DVD. 

“I remember one time [Cubby] said to me, ‘You know, the most important thing is don’t let ‘em screw it up.’” 

Tags: Clint Eastwood, Gran Torino, Walt Kowalski

4952 points, 156 comments.

Tags: Satisfying

5930 points, 417 comments.

The new LMDh-V.R will compete in the IMSA WeatherTech Series and the FIA World Endurance Championship come 2023.

Ride Safe Ride Smart
Approaching a busy four-way intersection there are a lot of elements to monitor: cross traffic may or may not stop for the light; pedestrians could step out at any time; an oncoming car waiting to turn left could fail to detect your presence and turn left in front of you. Sure enough, just as you approach the intersection, the car in the opposing left-turn lane swings into your path. You brake hard and swerve at the last second, barely avoiding a broadside collision.

Strategy: Without a doubt, this scenario is a frequent hazard for motorcyclists riding in urban areas. A common type of motorcycle crash (for sober riders) occurs during daylight hours, at low speeds (around 30 mph), when an oncoming vehicle turns left into your path. Again, when approaching an intersection with a vehicle waiting in the left-turn lane, your best bet is to assume the worst: that a car will pull out in front of you. Reduce your speed as you approach the intersection, either downshifting or lightly applying the front brake. Adjust your position in the lane to be seen better. Slowing will increase your safety cushion: slowing just 10 mph reduces your stopping distance significantly, and covering your brake greatly reduces reaction time. After you’ve slowed, continue to visually monitor the car in case it moves and forces you to change position or stop quickly.

For more information go to www.msf-usa.org
MSF – Motorcycle Safety Foundation

The post The Basic Left-Turn first appeared on Born To Ride Motorcycle Magazine - Motorcycle TV, Radio, Events, News and Motorcycle Blog.

Minimalist steel and cedar home on the Snake River immerses interiors in views of the Teton Mountains.

Visit Uncrate for the full post.

Whether you're a total beginner or seasoned pro, these skillets are perfect for your everyday cooking needs.

The best camping tents are durable, comfortable and able to withstand the elements. Read on for the 10 best, according to outdoor experts and enthusiasts.

A content creator for Moment — an online marketplace for photo and video gear — has shared why he ditched shooting in RAW and more often than not will shoot with his Fujifilm JPEG files, making most of the different ways to post-process in the camera, instead.

Each photographer revises a way of working that suits the final product and purpose of the shoot, whether that means shooting in RAW to capture more sensor data which is helpful in post-processing or opting for ready-to-use JPEG files, which put less pressure on storage needs and can work well for those who want to immediately use their files. There are benefits for both methods, as explained in detail by Chris Lee for PetaPixel’s, and understanding both can enhance the shooting experience and workflow.

Content creator Joshua Martin made the switch to shooting JPEG files with film simulations and recipes after he purchased his first Fujifilm camera — the Fujifilm X-H1. The different available film simulations can be selected in the Fujifilm camera menu and then are applied to JPEG files as the photograph is taken.

Similarly, Fujifilm “recipes” are created in the camera menu by adjusting particular settings of an already existing film simulation, such as the white balance, dynamic range, tone curve, color, sharpness, clarity, and more. These can help shooters replicate digital profiles of other film stocks or simply create a unique one.

Martin tells PetaPixel that he started to experiment with the film simulations and, to his surprise, was happy with the results. Shooting with different film simulations instead of working with RAW files helps Martin save time on his photography workflow, and once he learned more about the Fujifilm recipes, he tweaked them to suit his preferences and saved them as presets to get the looks he wants in less time than before.

Although film simulations already deliver a ready-to-use JPEG file, Martin finds himself tweaking a few settings in post-processing, such as sharpness and contrast, primarily using Lightroom Mobile.

“I’ve become more decisive when using simulations and recipes, it’s the idea of getting right in camera first and making little to no adjustments later,” Martin says.

With Martin’s career focused on filmmaking and content creation, he uses the simulations and recipes for his landscape, street, portrait, and product photography. Even though the applied simulations and recipes are based on existing film stock, Martin believes that it doesn’t mean the final image has to look like or replicate film. Instead, it simply gives unique tones to his photos in-camera and delivers a polished look. The only scenarios Martin would consider shooting in RAW would involve images that require in-depth editing in Photoshop, such as for composites or high-end portrait work.

“It’s been such a rewarding feeling to set up my camera’s colors in a way that fits the look I want,” he says.

For those who exclusively shoot in RAW, Martin encourages them to try this method to achieve the desired look in the camera. Fujifilm simulations also allow shooters to use their time more efficiently in post-processing: “All I have to do is mess with exposure, the color speaks for itself.”

More of Moment’s educational and inspirational videos can be found on the company’s YouTube page, while Martin’s own work can be viewed on his Instagram.

---

Image credits: All images by Joshua Martin and used with permission.

ORANGE, Calif. — An Amazonian tribe whose members’ brain volume decreases 70 percent slower than that of Westerners may hold the key to avoiding dementia in later life. Researchers say the healthy diet and active lifestyle practiced by the Tsimane tribe could explain the massive difference. Brain atrophy — or a loss of brain cells…

The post Amazonian tribe may hold key to having highly healthy brain, avoiding dementia appeared first on Study Finds.

A film photographer has launched a crowdfunding campaign for DIY pinhole camera kits with the aim of making large-format shooting affordable, accessible, and easy.

Set up by David Hancock, a photographer and writer who also shares educational material on YouTube, the Kickstarter campaign features large-format pinhole cameras — 5119 Cameras — that are designed to be built at home. Hancock shares that his project originated from a conversation with a photographer friend who was no longer able to use the fine controls on his cameras, which prompted Hancock to design simple cameras that could be used by anyone.

Hancock claims that he chose sheet film for this project to make the cameras simpler to build and because the format afforded quality results that could be achieved by anyone. The cameras are designed to be constructed by photographers of any level of building skill and, if constructed correctly, the designs promise to remain light-proof.

The largest camera kits are made out of custom-cut 7mm bamboo plywood. The insides of each camera are lined with thick, black, and light-absorbent felt instead of paint, further sealing them against light leakage. Hancock says that the choice of felt over paint ensures that the surface texture eliminates image hot spots that are caused by reflections that reconvene on the film plane and result in lost contrast due to internal reflections.

The design consists of oversized parts and pieces that can be easily handled and the shutters employ easy resistance adjustments and also include a 52mm filter ring for filters or lens hoods. Hancock explains that to make these cameras customizable, all parts will arrive unfinished and untreated, which allows photographers to finish them by applying stains or treatment of choice. He says that this can also make for an educational project for children starting out in film photography.

The collection consists of four camera models — The 45, Model 1; The 57, Model 1; The 810, Model 1; and The 410 Diptych, Model 1.

The 45, Model 1 is the smallest of the cameras in the lineup and is designed to be a compact, easy to use, and reliably shoot sheet film. It has a focal length of 90mm with an 84-degrees angle of view which approximates to 20mm full-frame equivalent.

The 57, Model 1 delivers the 5×7 format, which is particularly suited for shooting negatives for contact prints and, as Hancock says, “gives the darkroom photographer on a budget a way to also see their images easily made into actual, physical prints.”

This model builds on the design and performance aesthetic of The 45, Model 1, and adds an element of high-art performance. The specifications include a focal length of 127mm and 81.3-degrees angle of view which translates to 22mm equivalent on full-frame.

The 810, Model 1 is the largest camera and shoots 8×10. Although the size and weight of the camera make it more difficult to carry and use, Hancock claims that it delivers “accordingly beautiful results.” Well suited for landscape work, it has a focal length of 169mm with an 88-degrees angle of view which is an 18.5mm equivalent for full-frame cameras.

The 410 Diptych, Model 1 is possibly the most unusual camera in the lineup. Hancock is confident that no other Kickstarter campaign has released a 4×10 camera, particularly one that can alternately take two 4X5 film backs and create diptych images.

“This camera, a unique tool in the photographic world, aims to provide something that gives the photographer a panoramic pinhole option,” he writes.

With a focal length of 159mm, the camera has an 87-degree horizontal angle of view and a 49-degree vertical angle of view which make for 19mm and 40mm full-frame equivalent, respectively.

Providing the campaign is successfully funded, Hancock will order the parts for the kits and ship them to backers with no timeline specified as of yet. All backing options can be persued on Hancock’s Kickstarter campaign page.

---

Disclaimer: Make sure you do your own research into any crowdfunding project you’re considering backing. While we aim to only share legitimate and trustworthy campaigns, there’s always a real chance that you can lose your money when backing any crowdfunded project.

Underwater robots let you explore the marine life of the world's largest coral reef without even getting wet.

Visit Uncrate for the full post.

Its complicated livery was inspired by one of the original Speedtail prototypes.

It's like an Airbnb-style for swimming pools. Your visit may or may not include a giant unicorn floatie.