I have a 2001 isuzu trooper with the large sunroof. i was interested in mounting a roof rack that i could put gear on thats up to 150-200lbs. i would also like to be able to haul multiple snowboards. i also would like it to look nice as well as function nice. any suggestions or good set ups anyone currently uses.

this is the look i was going for. http://www.nofuture.com/myvx/trooper/rr08.jpg

 

Do a google search on safari racks. Your going to have to decide how to mount it. 200# is a lot that high. Take that into consideration in corners and when working terrain. I wouldn't get too technical with that much weight up there.
The Surco looks pretty good. I had a Zacatal, but they went out of business.

CJ

 

<h2 class="ir">Who's saying whatChris Cunningham
Vivid Live &ndash; Sydney Opera House Theatre chopard your hour replica watches Sydney
Sunday 5th June 2011

What. Just. Happened?

Due to unforseen errors of some sort of technical nature Chris Cunningham&rsquo;s afternoon performance is delayed by an hour. To make up for this grave transgression Opera House management do the unthinkable and offer every ticket-holder free drinks. It&rsquo;s an unprecedented move but an inspired one; if there&rsquo;s any show where the audience would need some extra Dutch courage it&rsquo;s Cunningham&rsquo;s. Guiding himself to the blackened stage with a torch (no floor crew for this man) replica tudor the UK filmmaker fires up the engines and proceeds to amaze oris watches awe shock and sicken for the better part of the next sixty minutes.

Patrons would obviously approach a live gig by the man who ushered the nightmarish clip for Aphex Twin&rsquo;s &lsquo;Come To Daddy&rsquo; into the world with a grain of salt but it&rsquo;s really hard to know what we're in for until it actually hits. Opening with an amazing clip of the recently deceased Gil Scot-Herron&rsquo;s &lsquo;NY Is Killing Me&rsquo; Cunningham sets up how things will go in his cinema&mdash;repeated visuals staggered in time to the beat; images from varying perspectives moving both against and in sync with each other across multiple screens; and an inspired visual emphasis on diagetic sound.

After lingering on Scot-Herron&rsquo;s ghostly visage Cunningham well and truly opens the show with a murderous electronic drum track that is perfectly timed to warp and pull apart a sleeping girl&rsquo;s face. Despite how much "crazy" YouTube stuff you&rsquo;ve seen the sheer power of watching eyes roll lips curl and head split apart in eerie syncopated perfection really is the next level of terrifying. The following disparate scenes almost all feature some kind of nudity or violence with one particular scene of sexual partners beating the living **** out of each other offered in rewind imitation a lange sohne double split chrono watches tilt and fast-forward. Supernatural synthesised groans blow through the theatre while the beats become more tightly wound and schizophrenic in a similar vein to the experimental artists Cunningham has worked with previously. By the time he reaches his full-blown tour de force replica bvlgari watches Rubber Johnny programmed lasers shoot out from his station in precise rhythmic bursts that match the unravelling madness happening on screen. It&rsquo;s hard to know where to look and then it&rsquo;s hard to look at all.

The show is uncomfortable and jarring but also deliciously primal as if Cunningham's subsumed himself in modern society&rsquo;s collective head picked out our darkest urges and synced them to music. Though over-indulgent at times the relentlessness of Cunningham&rsquo;s approach is perhaps his point; it&rsquo;s no so much about the disconnected cool video tricks as it is the story of disconnection he can tell with them.

I won&rsquo;t be sleeping tonight.

Jonno Seidler