The all new MODE 4×4™ is built on the rugged Mercedes-Benz Sprinter 144 4×4 platform. Authentically designed with daily drivers, weekend warriors, full time vanlifers, and long-range overlanders in mind… with an infinitely adaptive floor plan.
The MODE 4×4™ is equipped with a forward thinking, user friendly feature set that includes the industry first LiveFree™ OTG sustainable, automotive grade energy management system (powered by Volta).
With this 12kw clean energy lithium battery system you will have all the power you need to enjoy life on the road and off the grid without the noise, inconvenience, and fumes that accompany the fossil fuel generator setups of traditional RVs.
The Tall Timber Building residence has become a landmark and, during construction, became Sweden’s tallest solid wooden building in the new district of Kajstaden at Lake Mälaren in Västerås. All parts of the building consist of cross-laminated wood, which includes the walls, joists and balconies as well as the lift and stairwell shafts.
A restaurant funded solely by female investors, The Riddler is a New York City champagne bar from owner Jen Pelka.
The Iso Grifo is a limited production grand tourer automobile manufactured by Italian Iso Autoveicoli S.p.A. between 1965 and 1974. Intended to compete with Ferrari and Maserati GTs, it utilized a series of American power trains and components supplied by Chevrolet and Ford to ensure performance and maximize reliability. Styling was done by Giorgetto Giugiaro at Bertone, while the mechanicals were the work of Giotto Bizzarrini.
In 1970, a styling change was made to the nose section of the car for the Grifo Series II, It got a sleeker look and hide-away headlights. In the IR-9 “Can Am” version the engine was switched from the 427 engines to the newer even more powerful Chevrolet 454 7.4 litre engine.
In our opinion, the current recommendation to greatly increase consumption of dairy foods to 3 or more servings per day does not appear to be justified…When consumption of milk is low, the two nutrients of primary concern, calcium and vitamin D (which is of particular concern at higher latitudes), be obtained from other foods or supplements without the potential negative consequences of dairy foods. 
Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorker devotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.
Beginning in the early 1960s, Peter Saul began to incorporate imagery borrowed from a range of pop-cultural sources into his exuberant, brightly colored paintings, adopting a style that has proven to be far ahead of its time. His work developed independently from concurrent art historical movements like Pop art, with which it shares some superficially similar concerns. Instead of the cool detachment of Andy Warhol and Roy Lichtenstein, however, Saul crafted his own unique blend of Surrealism, history painting, vernacular illustration, and the real-life shock and horror of current events.
The Hudson Italia is an automobile styling study and a limited production two-door compact coupé that was produced by the Hudson Motor Car Company of Detroit, Michigan, in cooperation with Carrozzeria Touring of Italy, and subsequently marketed by American Motors Corporation during the 1954 and 1955 model years. Designed by Frank Spring with input from Carlo Felice Bianchi Anderloni of Carrozzeria Touring, and introduced 14 January 1954,
“Cherry Blossoms” reflects on the long tradition of flower viewing in Japanese culture with vivid color woodblock prints by ukiyo-e master artists, photographs, color lithographic posters and Kōkichi Tsunoi’s exquisite watercolor drawings from 1921. The book highlights the rich connections between Japan’s centuries-old traditions and contemporary counterparts. The American public’s affection for the blossoms is revealed in vintage and contemporary photographs of the Tidal Basin, collections related to the National Cherry Blossom Festival and the Cherry Blossom Princess Program, as well as decades’ worth of creatively designed festival posters.
Boomers Daily 