Mazda company extended official photos of pickup BT-50. The world premiere of this car takes place on autoshow in Australia (Sydney, October, 15).
Mazda BT-50 of the second generation received completely new style of an exterior, because of presence: the exclusive radiator enclosure, the big extended headlights, other front bumper, and also completely new tail lights.
The car also received interior with a new panel, a steering wheel from present Mazda3, Mazda6 and Mazda CX-5 (truth, unlike these cars on a pickup wheel there are other command keys an audio-system and cruise-control) and multimedia system with the big color screen. Besides, the pickup have a new block of climate control with separate screens on which the chosen temperature is highlighted.
The car can receive 2,2 and 3,2-litre diesel engines as at Honda Elysion, real powers of which will be 150HP.
Built — Reinvented 2012 Camry — Release date Oct. 16, 2011
Pit Stop — Reinvented 2012 Toyota Camry — Release date Oct. 24, 2011
Press and Credits: Saatchi & Saatchi LA Creates Campaign for the Reinvented 2012 Toyota Camry
“It’s Ready. Are You?” Touts Vehicle Innovation and Performance
Saatchi & Saatchi LA today announced the launch of the reinvented 2012 Camry campaign, one of the largest integrated marketing campaigns the agency has developed for Toyota Motor Sales, U.S.A., Inc. “It‟s Ready. Are You?” demonstrates how the seventh-generation model addresses changes in consumers‟ vehicle needs, expectations and driving habits through the combination of new innovations and improvements to interior and exterior vehicle styling.
The campaign centers around six TV spots, beginning with the 30-second “Built,” which will make its national debut on October 16 during NBC's Sunday Night Football. The spot uses stunning animation and visual effects to highlight the Camry‟s new features and visually demonstrate the reinvention of Toyota‟s signature model. As the 2012 model builds around its driver, the spot touches on several of the key aspects midsize car buyers expect to get with their next car purchase.
“For nearly 30 years, Camry has been an icon of durability, quality and reliability. But with the new model, Toyota has made a serious upgrade in technology, safety, elegance, performance and flat out beauty,” said Chris Adams, executive creative director at Saatchi & Saatchi LA. “With the „Built‟ commercial, we had a lot of fun literally showing this reinvention in progress. It truly is a car built around the needs of today's drivers.”
Another 30-second TV spot, “Pit Stop,” pays homage to the Camry‟s racing heritage with Toyota NASCAR driver Kyle Busch. The ad shows how Toyota‟s excellence carries from the racetrack to the roadway by transforming the car in the speed of a pit stop to highlight the Camry's performance capabilities and intuitive mobile technology. “Pit Stop” will make its television debut on October 24.
Two additional TV commercials will roll out later this year. Further, broadcast momentum continues into next year with two spots in the Super Bowl and the Toyota Halftime Report.
The campaign also includes print ads, digital media, out-of-home boards and social media elements. Additionally, digital billboards featuring Camry imagery will run atop the Walgreens building in New York‟s Times Square to spark the public‟s interest and build intrigue for the 2012 model.
Beginning in November, consumers will have the opportunity to get behind the wheel of the 2012 Camry at over 125 events through March 2012. The Toyota Drive Center national ride and drive tour, along with activations at select Life Time Fitness locations across the country, will give the public a chance to experience the vehicle first hand.
To set the stage for the 2012 model launch, Toyota and Saatchi & Saatchi LA launched the Camry Effect website, which is designed to connect the nearly seven million Camry drivers in the United States through an intuitive, interactive, online experiencehttp://www.toyota.com/camryeffect. The Camry Effect provides past and present Camry owners a platform to share stories, moments, memories and milestones of first dates, road trips, soccer games, interviews and college days while witnessing the collective “effect”
The Royal Ontario Museum unveiled The Forbidden City: Inside the Court of China’s Emperors, presented by the Robert H.N. Ho Family Foundation with Manulife as Lead Sponsor. The exhibition is on display in the Garfield Weston Exhibition Hall from Saturday, March 8 until Monday, September 1, 2014. Presented in collaboration with Beijing’s Palace Museum, the show brings to Canada for the first time approximately 250 treasures that were part of Chinese imperial life for five centuries in a city strictly off-limits to all but the emperor, his family, and his personal servants. These objects are the relics of a momentous chapter in China’s long and fascinating history.
More than 80 of the exhibition’s objects, including textiles, calligraphy, paintings, and armour, have never before travelled outside the Forbidden City. Complemented by stunning artifacts from the ROM’s own internationally celebrated Chinese collections, these objects tell captivating stories and reveal the fascinating characters that made the Forbidden City the centre of an immense empire for more than 500 years. Due to the significant number of light-sensitive textiles and paintings, there will be an extensive rotation of objects half way through the exhibition’s engagement, presenting a new opportunity to experience the stories and exquisite objects of the Forbidden City.
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]“The ROM’s exhibition takes visitors on a remarkable journey to the heart of the Forbidden City — once off limits to all but a privileged few,” said Janet Carding, ROM Director and CEO. “Carefully selected by our curatorial team, these extraordinary artifacts from Beijing's Palace Museum will give visitors an inside view of life within the Forbidden City and immerse them in China’s rich history. The exhibition is the centerpiece of the Museum’s Centennial, bringing to life our promise to connect our visitors with their communities, world, and with each other.”
The ROM has partnered with Beijing’s Palace Museum to create an exhibition that uncovers untold stories about life in the courts of the Chinese emperors. Dr Chen Shen is the exhibition’s lead curator and the ROM’s Vice President, World Cultures and Senior Curator, Bishop White Chair of East Asian Archaeology. He said, “This exhibition allows Canadians to see, for the first time, the finest objects hidden from view in the Forbidden City. We have worked with our Palace Museum colleagues to develop untold stories about life in the courts of the Chinese emperors; ensuring ROM visitors will enjoy many of China’s national treasures, many of which have never left the palace. These objects — both luxurious and everyday — provide the unique opportunity to advance our understanding of the people who lived within the walls of the Forbidden City.”
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]In December 2012, Dr. Shen travelled to China with co-curator Dr Wen-chien Cheng, the ROM’s Louise Hawley Stone Chair of Far Eastern Art, and curatorial advisor Dr. Sarah Fee, the Museum’s Curator, Eastern Hemisphere Textiles and Fashion to spend time in the vaults of the Palace Museum and select the most compelling objects in the vast and storied collection.
Robert H. N. Ho, Founder of The Robert H. N. Ho Family Foundation, said “The Foundation is pleased to present The Forbidden City: Inside the Court of China’s Emperors in Canada. Advancing the understanding and appreciation of Chinese culture is a key mission of our foundation. Robust educational programming in support of the exhibition should encourage wider exploration by the public, especially teachers and students. The Foundation is also proud to once again be working with the ROM, an outstanding institution which together with Beijing’s Palace Museum, has developed this wonderful exhibition, bringing to life the 600-year-old imperial palace and revealing for the first time many of its treasures and secrets. ”
This gemstone-decorated gold ewer was used only on special occasions such as the emperor’s birthday [Credit: ROM]“The Forbidden City is a true celebration of Chinese culture and history," said Nicole Boivin, Chief Branding and Communications Officer for the exhibition’s Lead Sponsor Manulife, “As a global company, Manulife is committed to engaging the international communities in which we live and work, including China where we've been operating since 1897. Partnering with the ROM to support this exclusive exhibit is an excellent way to honour the China-Canada Cultural Exchange and the ROM’s 100th anniversary.”
The ROM’s exhibition uncovers the stories of the Forbidden City and China’s last emperors who led their lives deep within the palace’s opulent interior. Through intimate encounters with everyday objects, visitors meet a cast of real characters, including emperors, court officials, concubines, and eunuchs — castrated men who served the imperial families. The ROM’s exploration of life inside the mysterious Forbidden City transports visitors through increasingly restricted areas — the palace’s great halls, grand courtyards, and intricate terraces and roofs, until visitors ultimately gain access to the most private space of all: the emperor’s personal study.
'Being Ruler is Tough' was the motto Emperor Yongzheng inscribed on this seal. At his wish, copies of this seal were placed in different rooms for his use and as a reminder of his role [Credit: ROM]Upon arrival, before reaching the admissions desk, visitors are introduced to the Forbidden City in the exhibition’s Prologue. An intricate model including many of the complex’s significant features is displayed in the Thorsell Spirit House, complemented by the one of the ROM’s most recent acquisitions — a yellow-glazed bowl, commissioned by Ming Emperor Wanli. The colour yellow was strictly reserved for royal families and could not be used in any way outside the Forbidden City unless explicitly permitted by the emperor himself.
Thrones were not made for comfort, but as a symbol of the ruler’s imperial and authoritative power. All the pieces here are part of the 'throne set' [Credit: ROM]Visitors next enter The Inner Court, the residential space where only the imperial family and their eunuchs lived. Empress Dowager Cixi, a towering presence over the Chinese empire for almost half a century, is profiled in this section. Stunning gilt silver nail guards represent her. Up to six inches long, they protected the extremely long nails of imperial women — signifying their leisure status. Also on display are the opulent objects of the emperor’s everyday life including silk dog coats, gold eating utensils, and the last emperor’s gilt bath tub.
The exhibition’s climatic section takes visitors inside the Emperor’s personal spaces that were once forbidden to all but the emperor. As rulers, emperors were bound to strict institutionalized governance. However, their choices were their own in collecting and personal cultivation. This area showcases some of the most exquisite objects in the imperial collection including jades, calligraphies, and ceramics and an exceedingly rare porcelain “chicken” cup, commissioned by Emperor Chenghua for his mother; only two such cups exist today in the Palace Museum. In this section, a British-made musical clock and the character of a Western missionary represent the foreign dignitaries who gained access to the Forbidden City with gifts from their homelands — pieces much admired by Qing dynasty emperors.
Pages like this, in a fourteen-sheet album, presents the emperor assuming various ethnicities and characters – in each he is accompanied by an animal or a bird. [Credit: ROM]Finally, Twilight of the Last Dynasty portrays the Forbidden City’s last chapter as it began its transformation to the Palace Museum. Here, visitors learn of the fall of the empire during the last dynasty and the imperial collection’s fate. The magnificence of imperial life is countered by the poignancy of the last emperor’s departure. As visitors are brought back to their own world, they gain an appreciation for the Forbidden City then and now.
The Forbidden City
China’s imperial palace, known to the world as the Forbidden City, was built from 1406 – 1420. It was the center of government and home to China’s last 24 emperors of the Ming (1368 – 1644) and Qing (1644 – 1911) dynasties. Made up of about 980 buildings and 8700 rooms in over 90 architectural complexes, the Forbidden City remains to this day the largest palace complex in history. Once strictly forbidden to all but the emperors, their families, servants, invited guests, and most trusted officials, the palace gates are now open to all.
The Palace Museum
The Forbidden City became the Palace Museum in 1925, one year after the last emperor was forced into exile. Located in the heart of Beijing, the magnificent site spans over 720,000 square metres and houses the largest collection of China’s imperial treasures. Designated by China’s State Council as one of that country’s most important protected cultural heritage sites in 1961, it became a UNESCO World Heritage site in 1987. Today, it is considered one of the world’s most important museums. Popularly called The Forbidden City, it houses over 1.8 million art treasures spanning 5,000 years of Chinese history with many from the Qing imperial court. It is one of the world’s most visited museums, welcoming a record 182,000 visitors on October 2, 2012.
Mighty director Alexander Paul recently lensed a three-spot package promoting Hyundai's Genesis R-Spec and Equus vehicles.
Faster Acting focuses on a test driver guiding his Genesis R-Spec around a test course. As he bolts over the track in a squeal of smoke and speed, Paul shows us the car from multiple angles, including a goosebump-inducing view from behind the wheel. Valet Parking is a slow-motion spiral through the skylines and boulevards of Manhattan. As a couple gazes out the window of their Equus at the Guggenheim Museum in wonder, the valet nearly drops his client's keys watching the car roll past, and a narrator reminds viewers that J.D. Power recently ranked the ride highest in the vehicle appeal category for premium cars. Review begins with the oft-heard expression, "You can't always get what you want"; a Hyundai with a GDI engine navigates through the back roads of the Hamptons, its relaxed driver allowing his GPS navigation system to lead him pass hedgerows and summer estates as he sinks into the elegant leather interior. A final shot of the vehicle's sleek exterior proves that getting everything one wants in a car is quite possible.
"It was a real pleasure being able to interpret Hyundai's message with a great deal of artistic freedom," stated Paul. "Visually speaking, I wanted to give all three spots a distinct look and feel, reflecting both the raw experience of the car and the landscape in which it's being driven. While the fluidity of Valet and Review convey the elegance of the models, the sharp, precise cuts Faster Acting evoke speed and performance. We made the most of all three shoots, especially Valet, when the earliest snow blizzard in New York's history called for some much-welcomed improvisation."
"Alexander's love of cars is evident in his work," noted EP Eric Bonniot. "He treats them with a unique sense of humanity, giving them character through the stories he tells. Shooting these spots was a lot of fun for us because Hyundai is really in touch with its audience, and its new line of vehicles are an absolute knockout."
Credits: Client: Hyundai Spot Title(s): Valet Parking, Faster Acting, Review Agency: Innocean CD: Ed Miller AD: Tyson Brown Copy: Cooper Olson, Jonathan Hum Prod Co: Mighty Film Co. Director: Alexander Paul DP: Stephan Von Borbely EP: Eric Bonniot Producer: Susanne Porzelt VFX: Liquid Lead VFX Artist: James Bohn VFX Artist: David Parker Producer: Terry O'Gara Editorial Co: Spot Welders EP: David Glean Senior Producer: Carolina Wallace Editor: Michael Heldman Asst. Editor: Patrick Murphree Telecine Co: New Hat Mixer: Bob Festa Shoot Location: NYC, Hamptons, Alabama
Attribution: Written content created by TRUST: http://www.trustcollective.com Under Creative Commons License: Attribution Share Alike
Heineken is looking for designers, creative thinkers, makers and doers to co-create the Lounge of the future. Submit your portfolio at http://heineken.tumblr.com to be a part of a global design collaboration that will be unveiled at Milan Design Week in 2014.
We’re looking for up-and-coming talents in graphic-, product-, motion-, fashion- and interior design. So you have a unique way of looking at nightlife design, and how it can influence behavior for the better – and a portfolio to prove it? The four hubs for this year’s competition will be in New York City, Singapore, Warsaw and Mexico City. Application is open from 9th of April to 31st of May 2013. We are looking for people that are open to new ways of co-creation with other creatives from all around the world. Who are not afraid to share first ideas and rough concepts. In the month of September we will require full dedication as this is when we will tackle the conceptual thinking around the project.
2011 Honda Civic received a new portion of cosmetic updating. Manufacture of the modernized car will be adjusted at factory in Swindon (Great Britain) in November, 2010, thus cost of model 1.4 Type S begins from 13,995 pounds.
2011 Honda Civic
The basic attention has been given to radiator enclosure which altered so that the given car began to remind of legendary model «Type R». It allowed designers to give to a novelty more expensive kind.
Besides it, 2011 Honda Civic receives a new collection of wheel disks in diameter of 16 and 17 inches. The interior of a new Civic is finished now by a high-quality fabric and synthetic suede. In more expensive complete sets sport seats are upholstered by a genuine leather.
How can you spark a conversation and more important maintain the interest of your target audience in a low interest category like frying fats? The Dutch market leader in cooking oil, Diamant challenged ad agency Fitzroy Amsterdam to find a solution. It all starts with a platform. A platform that has substance and depth, one where relevant as well as fun content can be shared. Like most brands Diamant doesn't have a natural platform, so it was time to create one. The inspiration came from Diamant's real essence: the product characteristics of Diamant frying fats: a crispy exterior and a soft interior of any snack. These two instrumental benefits were brought to life and obtained emotional values. Our 2 brand mascots, "Zacht & Krokant" translated to English: Soft & Crispy were born. They play the main role on television in which the bubbling frying pan became Soft & Crispy private Jacuzzi.
Credits: Agency: Fitzroy, Amsterdam Production: Glassworks Director: Morten Vinther Executive Creative Director: Jur Baart Art Director: Gert van Kaaij, Wouter Vanhaeren Copywriter: Youri van Overdijk, Merlijn van Vliet, Roen Roomberg Producer: Jane Bakx, Joris Knetsch, Jony van Hees Sound: Kaiser Sound Studio's Sound: Marco Baay Artistic Model Director: Dan Hope, THomas Hinke Agency Producer: Jony van Hees Editor: Scott Harris, Will Judge Composer: Craig Brown Music: The Sound Works
Pointe-à-Callière presents a major exclusive international exhibition, The Aztecs, People of the Sun. Visitors will have the unique privilege of learning about the people who founded the fabulous city of Tenochtitlan, capital of the Aztec Empire and the site where Mexico City was built after the Spanish Conquest in 1521. The exhibition, presented from May 30 to October 25, offers insights into the dazzling world of a people who reigned over much of Mexico for two centuries.
Tláloc vessel. The highlights of the Montréal exhibits include some of the most remarkable remains from the Aztec civilization [Credit: Héctor Montaño, INAH]Exceptional participation by 16 Mexican museums
The exhibition, produced by Pointe-à-Callière in collaboration with the Mexican National Council for Culture and the Arts – National Institute of Anthropology and History (INAH), showcases some 265 items from 16 Mexican museums, including the Templo Mayor Museum, an archaeological site museum like Pointe-à-Callière itself, and the Mexican National Museum of Anthropology. The tremendously varied objects are both spectacular and moving. Masks and statues, gold jewellery, figurines of women, children and animals, stamps for creating patterns on fabric and skin, sculptures and objects relating to the sacrifices required to keep the Sun on its daily journey, chests, boxes for offerings, vases and ceramics, all reflect the mysteries surrounding this people.
Stunning artifacts
The highlights of the Montréal exhibits include some of the most remarkable remains from the Aztec civilization. Two statues from the Templo Mayor Museum, each weighting 250 kg and standing 170 cm (nearly 6 feet) tall, are sure to appeal to visitors’ imaginations. The terra cotta statue of an eagle warrior, with jagged claws protruding from his knees front and back and his face emerging from an eagle’s beak, could also represent the rising Sun. This true work of art was found in the House of the Eagles, next to the Templo Mayor, used for rituals and penitential ceremonies. The terra cotta statue of Mictlantecuhtli shows the god of death leaning forward toward humans. With his skull-like face, pierced with holes for hair to be inserted, his shredded skin and clawed hands, stained with human blood, he is a terrifying sight!
Other items with splendid colours, like the vessel representing Tlaloc, the rain god, tell us more about the Aztecs’ lifestyle and deities. This vase is considered one of the masterpieces of Aztec art, and shows the god with his typical “goggles” and fangs, in his usual blue colour. The pyramid shapes on his headdress are references to the mountains where the Aztecs believed Tlaloc stored the water that would later fall as rain.
A wooden mask inlaid with turquoise, shell and mother-of-pearl is one of the rare Aztec “turquoise masks” to have survived. It may be a reference to the god Quetzalcoatl, whose face is emerging from the mouth of a serpent. This rare piece comes from the “Luigi Pigorini” National Museum of Prehistory and Ethnography, in Rome.
A ceramic piece with three faces, adorned with 13 circular gems, or chalchihuitl, evoking the 13 months of the sacred calendar, is also stunning. It decorated a brazier or a funerary urn, and shows the three phases of existence: in the centre, youth opening its eyes to the world, followed by an image of old age, and then the face of inescapable death, with its eyes closed, all referring to passing time. This sublime piece expresses the cyclical principle of duality, so important in Aztec thought, where life is reborn from death.
There are also images drawn from historic codices, photos of archaeological sites and remains, and different videos. Then there are some 150 unique hand-built and painted figurines made in Mexico to create a colourful, joyous scene depicting the vast Tlatelolco market held north of Tenochtitlan in days gone by.
Exhibition themes
The exhibition focuses on the founding of Tenochtitlan, capital of the Aztec Empire, their daily lives, the Templo Mayor, and of course the question of human sacrifices and the two Aztec calendars. It looks at many themes in their rich history: the Aztecs’ migration, guided by their god Huitzilopochtli, and the founding of Tenochtitlan; the remarkable urban planning and land use development in this “Venice of Mexico”; the Aztec art of war and the tribute paid by conquered peoples, as well as their agricultural techniques and the chinampas, the ingenious floating gardens that made the city self-sufficient. It also looks at the organization of Aztec society, with its different classes, a fascinating subject that addresses the role of women, education and the administration of justice. Aztec writing and the famous codices, manuscripts made up of glyphs or pictograms illustrating the spoken language, are examined in depth. Religion, an essential and omnipresent part of Aztec society, along with their various deities and rituals, are described. And lastly, the exhibition closes with a description of the Spanish conquest and the fall of the Aztec Empire, and the legacy of the Aztecs today.
Who were the Aztecs?
The story of the Aztecs began around the year 1000, when a warrior tribe, probably driven by famine, set out on a long southward migration. Despite many difficulties on their odyssey, they persevered, trusting in the god watching over them to reveal the place where they could finally found their city. And so it was that in 1325 the Aztecs, or Mexicas, founded the city of Tenochtitlan, building a temple on an island in marshy Lake Texcoco, in the central Mexican highlands. The capital was divided into four districts, watched over by the gods associated with the four cardinal directions. In a sacred precinct in the centre of the city stood the main temples, including the Templo Mayor or “Great Temple,” which would become the heart of their city and the centre of their spiritual and material universe. The Aztec Empire lasted almost 200 years, until 1521. They built lavish palaces, temples and markets there, creating an immense metropolis with a population of about 200,000 at its height. Theirs was an imperialistic society that relied on diplomacy and near-constant warfare to expand their empire and collect tribute in the form of regular “taxes” from the peoples they conquered.
A highly innovative civilization
Tenochtitlan was founded on a shallow, marshy lake. The Aztecs were able to increase the habitable area of their city by planting pilings and installing platforms to hold sediment from the lake. Thanks to this ingenious system, the city was crisscrossed by canals, and chinampas, or true floating gardens, were created where they could grow various crops. These remarkably fertile gardens produced up to seven harvests a year, feeding much of the city. The system was also used to recycle the city’s organic waste. The Aztecs developed trade in cocoa, maize and other crops, which were sold in markets of all sizes, and produced striking ceramics and magnificent gold and silver finery.
A life governed by gods and calendars
Like many other Mesoamerican peoples, the Aztecs divided their universe into three main levels: the sky, the Earth – an island with the Templo Mayor at its centre – and the underworld, inhabited by the god of the dead and his companion. The god and goddess of duality were the source of four creative principles occupying the “four roads of the universe” corresponding to the four cardinal directions. For the Aztecs it was important to constantly maintain the balance among the divine forces – a delicate exercise governed from day to day by following two calendars that dictated not only the maize planting and harvesting cycle but also the rituals required to appease some 200 different gods.
The Aztecs considered time to be cyclical, and human lives to be influenced in turn by their gods, at regular intervals, as spelled out in the two interlocking calendars. The solar or annual calendar lasted 365 days and consisted of 18 months of 20 days, adding up to 360 days. The remaining five days were seen as highly inauspicious – it was best to avoid all activity on those days! In every month a major god was honoured. Since this calendar governed agricultural activity, it included many feasts dedicated to the rain god Tlaloc and to plant deities.
The sacred calendar also dictated religious ceremonies and important dates. Each day was defined by a glyph or written sign (there were 20) and a number from 1 to 13. These signs and numbers combined in an unchanging order, and the same combination of signs and numbers repeated until the 13 x 20 possibilities were done, that is for 260 days. Every 52 years, the solar and sacred calendars aligned once again. For the Aztecs, this was a time of fear and anguish, since they didn’t know whether it signalled the end of the world.
The importance of the Sun and human sacrifice
The Aztecs worshipped the Sun, and feared that it would disappear if they didn’t perform various rituals. Just like many other pre-Columbian civilizations, they also engaged in human sacrifice. These sacrifices were considered offerings and an essential part of the various rituals associated with their religion and daily life. Victims were put to death to nourish the Sun and the Earth. When the rains failed to appear and crops were at risk, for instance, the Aztecs would sacrifice children to regain the favour of the rain god. Different kinds of victims were sacrificed: warriors captured in battle, slaves, people condemned to death for offences, and children.
Highly significant codices
The Aztecs had a special form of writing. They transcribed their language, Nahuatl, using a combination of glyphs, figures and graphic elements. These manuscripts, known as codices, are an inexhaustible source of details about their economy, and include tax rolls, property registers, politics, history, education, religion, sacred rituals and science. They are key to our understanding of Aztec civilization.
The Aztec heritage
When he first saw Tenochtitlan and its many canals, Hernán Cortés of Spain compared it with Venice. But despite his admiration for the city, he had no scruples about laying it to waste in 1521. Cortés left Cuba with about 500 men, on a mission to secure the interior of Mexico. After being greeted with splendid gifts by Moctezuma II, Cortés soon took the Aztec Emperor prisoner. The destruction of Tenochtitlan marked the end of the Aztec Empire and launched the colonization of all of Latin America.
Today the Aztec civilization is considered one of the most remarkable in human history. Many archaeological digs and different museums celebrate their exceptional contribution to world heritage. Mexico City, the country’s capital and largest metropolis, was built atop the ruins of the superb city of Tenochtitlan. Today it is home to some 22 million people. The Aztec language, Nahuatl, is still spoken by about 1.6 million Nahuas. Today’s Mexicans also carry the memory of the Aztecs in their name. When their god Huitzilopochtli guided the Aztecs to the site where they would found Tenochtitlan, he called his people Mexicas. Even today, a divine eagle perched on a cactus devouring a serpent – the sign that the god had sent to the high priest of the Aztecs to tell them where to found their city – adorns the Mexican flag and banknotes. And one can still travel by boat along the canals built by the Aztecs, in Xochimilco and other districts of Mexico City.
Hot Pockets and Snoop team up and create the ultimate music video rap with "Pocket Like It's Hot".
The irresistibly hot music video to end all music videos — "Pocket Like It's Hot", featuring Snoop, DeStorm Power, Andy Milonakis, Herbie Hot Pockets®, and WWE® Superstar Brodus Clay, brought to you by HOT POCKETS® brand sandwiches. Lots more info and on the company Facebook app page.
I know what you thinking, don't you wish you had the lyrics to the rap...done.
Lyrics: Hungry kids in the crib ma Pocket like it's hot Pocket like it's hot Pocket like it's hot When the craving's got a hold of you Pocket like it's hot Pocket like it's hot Pocket like it's hot And yo munchies get a attitude Pocket like it's hot Pocket like it's hot Pocket like it's hot I've got the pockets in my arms Settin' off smoke alarms And I eat 'em smokin hot 'Cause I got it going on - I'm a hot dude, with some hot dreams Getting fired up, letting off steam Everybody showing love — Herbie's in da tub Checkin' applications for the Hot Pockets fan club Pepperoni pizza, much better than some fish eggs The interior too hot let it cool off for a few secs I'm running for the taste, that can be my phys ed Chompin Hot Pockets, that's how you get ahizzead Winners get the meaty meats, Winners get da cheesy eats The tag-team meal that's too hot for TV Get off my pockets, you gotta backup Yup that's whatssup, now sign the prenups Me and Hot Pockets never gonna splitup You should think about it.....take a second. - I bring the heat, but y'all knew that Da Big Sauce Boss, yeah, I had to do that I keep it fired up, even when I'm inside You take what's mine, then ya gonna have to run 'n hide He light 'em up so much that everybody talks They all wanna turn in his Hot Pockets Box Two, one, yep, three these Pockets are H O double T Smokey temps hitting that three thirty three If you can't stand it this hot Then you can't chill with me So bring your friends, we going on a wild ride Herb Sauce tender meats heat yo insides So don't change the dizzle, turn it up a lizzle Got some cheesy drizzle dripping on my shizzle Waiting on the brizzle's, the pizzle, the dizzle Gs, when da cheese hits your tongue it'll scream "Fo Sizzle" - Hungry kids in the crib ma Pocket like it's hot Pocket like it's hot Pocket like it's hot When the craving's got a hold of you Pocket like it's hot Pocket like it's hot Pocket like it's hot And yo munchies get a attitude Pocket like it's hot Pocket like it's hot Pocket like it's hot I've got the pockets in my arms Settin' off smoke alarms And I eat 'em smokin hot 'Cause I got it going on
So "How to Make a Car for an Unsafe World"? Safe from a falling piano, safe from a giant lizard with laser beams and of course zombies, well these two TV ads for the 2013 Dodge Dart will explain it all for you. Above is the How to Make a Car for an Unsafe World spot and below "How to Make a Great Car Interior" commercial with a flame throwing guy and kissing crash test dummies. Credits: Ad Agency: W+K Portland.
