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Marketing and Sponsorship: The PBR’s Dr. Dirt, Randy Spraggins, makes an art form of trucking and spreading just the right soil

Marketing and Sponsorship: The PBR’s Dr. Dirt, Randy Spraggins, makes an art form of trucking and spreading just the right soil

Getting an arena ready for a PBR event is dirty work, from selecting the right soil and transporting it to spreading the surface at the venue.Terry Lefton

Most action on the floor of Madison Square Garden happens after dark. But on a recent frigid Manhattan morning on that same floor, it was just 8:30 and Randy Spraggins was already hours late — and a bit stressed. He wanted to get 750 tons of dirt onto the MSG floor by 6 a.m.; instead, it was just beginning to be spread around by a series of oversized dump trucks and front-end loaders.

For all of the Professonal Bull Riders’ 30-plus years, Spraggins, who describes himself as a lifelong cowboy, has been the circuit’s doyen of dirt, trucking and installing the surfaces on which PBR riders perform in and out of venues across the country. His company, Special-T-Tracks, has assembled dirt floors for events at locations as diverse as the deck of an aircraft carrier and in the middle of Times Square.  

This day, however, his focus is on MSG, which, like Manhattan, is uniquely difficult to navigate. Spraggins’ dozen or so trucks have to make the 13-mile trip to and from Lyndhurst, N.J., where the dirt is located and processed, and then drive those same trucks, each loaded with 20 tons of soil, from MSG street level to the arena floor on five. Getting all that dirt up and down those ramps takes three to four hours alone.  

Spraggins

It’s the PBR’s 17th visit to MSG. Still, Spraggins, who caught the dirt bug early, as the son of a heavy construction equipment salesman, calls MSG “more logistically challenging than almost any. Most of our heavy lifting is at nighttime in the cloak of darkness.” Not so this day, but dirt is starting to be dumped underneath the MSG scoreboard.  

Adding to the pressure constraints: A Rangers game the night before and another scheduled for the day after the Monster Energy Buck Off ends on Sunday.  

It’s quite a jigsaw puzzle. On top of the Rangers’ home ice, there’s a layer of plastic and fiberglass, followed by a plywood floor generally customized for each venue. On top of that, heavy equipment is starting to dump and spread what will be 12 inches of a sandy soil mix. On top of that, there’s 12 semis that hold lighting and audio, and pens for the bulls. 

“It’s gotten more complex, since we’re doing our own lighting and audio,” said Luke Kaufman, director of live events, a 13-year veteran of the tour. “Concerts like Billy Joel or Phish, they get to set up on a solid base. We build on top of dirt.” 

After the event, all that soil must be removed, cleaned of any bull, er … debris, and trucked back to Lyndhurst. So essentially, those 750 tons of dirt, eventually spread across the MSG floor, are rented for the weekend. That’s not always the case. There are tour stops where the PBR keeps its own topsoil nearby, including Houston and Las Vegas. The ideal dirt for PBR? Spraggins addresses that issue with the ardor of a vintner debating the climate’s impact on wine grapes. 

Terry Lefton

“What makes the perfect ground to buck on is particle size and a certain amount of clay mix,” he said. “Sand makes it workable; you don’t want it too hard or too soft.  

“You want them to be able to get a good foothold but also safe once they get bucked off, it can’t be a concrete-hard floor. They come off with some force, so you don’t want it rock hard, but still firm, you don’t want to break them either.”

Quality dirt varies by region. Kaufman says access to the best soil is getting more difficult every year, and dreams about holding every event on the Fort Worth topsoil, on which the PBR held last year’s Finals.

“You want it to pack well,” he said, as the MSG floor was now fully covered by dirt. “It should pack well, still be soft on top and then it’s about how you groom and finesse the surface. Whatever it is, I know Randy will get it in and out in time. He’s just the best in the world when it comes to laying dirt.”

Terry Lefton can be reached at tlefton@sportsbusinessjournal.com

Welbeck jumps for Mankowitz’s collection of Rolling Stones photographs

Welbeck jumps for Mankowitz’s collection of Rolling Stones photographs

Headline’s Welbeck imprint will publish The Rolling Stones Rare and Unseen, a collection of photographer Gered Mankowitz’s images of the band, including shots that have never been published before. 

Rolling Stones guitarist Keith Richards has contributed a foreword for the book, and former Stones manager Andrew Loog Oldham has written an afterword. 

Publishing director Joe Cottington acquired world all-language rights from Carrie Kania at Iconic Images. The Rolling Stones Rare and Unseen will be published on 28th March 2024 in hardback, and e-book to coincide with the start of the band’s major US tour. 

Mankowitz was first introduced to the Rolling Stones in 1964 and quickly struck up a personal and professional relationship with them, “capturing the band’s ascent to rock ‘n’ roll superstardom through the lens of his camera”, the publisher said.  

“Now, Mankowitz opens his archive to share rare, long-lost and newly recovered photographs of his time with the Stones, alongside his most iconic shots”. The images include record cover shoots and recording studio sessions, wild weeks on tour and the band relaxing at home. 

The book also features Mankowitz’s personal anecdotes, as well as essays including writer Will Hodgkinson, author Peter York and the New York Times’ Ben Sisario. 

Cottington said: “I have long been a huge fan of Gered’s photography and am very happy to be working with him to publish a book that should be essential reading for all fans of the Stones. 

“Gered had a backstage pass to music history – he was standing with the band as they took the world by storm – and it’s been a special joy to uncover his breathtaking images from that time, some of which have sat in his archive for the better part of 60 years. With the band releasing a new album and back on the road, it feels like the time is right to shine a light on these forgotten photographs and finally give them the attention they deserve.” 

Mankowitz said: “To be honest, the thought of going through hundreds of sheets of my Rolling Stones archive didn’t excite me much when the idea for this project first came about. However, I couldn’t pretend that I hadn’t noticed on occasion the shot next to the famous one and wondered if it wasn’t just as good – or even a little better. So, I began to go through the material, pulling out sheets of previously dismissed work that had been rejected – not, truth be told, after due consideration, but purely because we had previously selected an image from that roll, that venue, that moment. It was those initially chosen images that stuck and which were always shown. 

“Slowly, it dawned on me that I actually had a hell of a lot of material here which had never been released, but which was really good. In many instances, there were shots that had been completely missed and were even better than the original selection.” 

Lancaster University students launch Northern Design Festival for 2024

Lancaster University students launch Northern Design Festival for 2024

We all know about the London Design Festival. But in these days of remote working and regional powerhouses, the days when everything in the design industry necessarily centred around the capital are long behind us. So what about the rest of the country?

That’s exactly what a group of students at Lancaster University led by Antonia Arbova thought. And they didn’t just moan into their subsidised beers: they did something about it.

In fact, they made so much noise about the need for an equivalent event up North, that countless design partners and brands have signed on to support the cause. And now for 2024, they’re launching the Northern Design Festival.

What is it?

The Northern Design Festival is a three-day festival hosted in Lancaster on 17-19 May 2024. For these three days, the historical city with a proud tradition of traditional crafts will become a hub for Northern design, showcasing what local talent has to offer.

Through panel discussions, presentations, workshops, mentorships and networking, the festival has partnered with the UK’s Design Council, G.F Smith, Foilco, Nomad, Two Stories, SUN (Studio Up North), Fraser House, EXP, Kellanova and others.

With an opening event on the Friday evening and two full days on the Saturday and Sunday, the festival will work as a creative launch pad for aspiring designers and creatives to explore the industry from different perspectives through experts in the creative community. The idea is to help connect the local design community and make it bigger, louder and better, to open up fresh possibilities in the region.

Why is it needed?

If you’re wondering why a Northern Design Festival is needed, you probably don’t live in Northern England. In southern cities creatives are spoilt for choice, but opportunities are much more limited up North, depriving creatives of the space to pursue their passions and connect with the industry outside of education.

For instance, in an online survey, the Northern Design Committee found that only 12.5% of those studying a creative major at University of Lancaster feel prepared to enter the creative industries after their undergraduate degrees.

Additionally, 82.6% believe the North does not have enough creative opportunities, and 78.3% feel there aren’t enough creative opportunities in Lancaster, making the festival a crucial step into the right direction.

Confirmed topics

Here’s a taste of what you can expect at the first Northern Design Festival this May:

North + South; the story of a love hate relationship: Shining a light on the creative opportunity gap between the north and south and the exploration of solutions.

How AI will not steal your job…: A topic to demystify the concept of destructive ai into a design tool that will promote and not hinder creativity.

Future Trends in Design: A discussion on crafting unique and cohesive designs, along with effective approaches to highlight upcoming trends.

The value of Design in the fight for climate change: How to efficiently apply sustainable design methods to combating climate change.

Design in the Aftermath of the Pandemic: Exploring the opportunities created by the pandemics introduction of hybrid co-design.

Your Journey: Share your journey into the industry to inspire and support our future designers.

Photographer Joel Meyerowitz’s unique approach to colour and light is showcased in stunning new exhibition

Photographer Joel Meyerowitz’s unique approach to colour and light is showcased in stunning new exhibition

Titled Joel Meyerowitz: Dialogues, the Huxley-Parlour exhibition opens on 18 January and runs through until March. Representing Joel’s fourth solo exhibition at the gallery, Dialogues is fittingly named as it coincides with another important display of the photographer’s work at London’s Tate Modern.

The theme of pairing runs even more profound, as the work presented in Dialogues is displayed in couples to reveal the unexpected parallels that emerge in Joel’s imagery. And by doing so, the photographer’s enduring fascination with colour and the experimental ways he uses it comes to the surface.

According to Joel, the pairs of photographs on display are “relational” images, each linked by light, colour and composition. Both exhibitions use pairing to investigate the colour in Joel’s pictures and his characteristic use of “complex compositional structure and unresolved, non-hierarchical imagery.”

As for the subjects in Joel’s work, the photographer tends to lean on distinctly American aesthetics, such as the stars and stripes, while blending them with meditative palettes. The photographs on display span from 1964 to 2011 and include lesser-known images from his extensive archive alongside his best-known pieces, such as his early street work and images from his seminal series, Cape Light.

“Meyerowitz is widely acknowledged to be one of the first photographers – amongst others such as William Eggleston and Stephen Shore – to bring colour photography from the periphery to the centre of fine art photography,” says Huxley-Parlour.

In a modern world where everything can be recorded and reviewed with a couple of smartphone screen taps, Joel’s revolutionary approach to colour can almost be easy to underestimate. “Historically, where black and white photography was understood to be a serious medium, colour was widely considered to be technically inferior and aesthetically limiting – occupying the realm of advertising campaigns, television, and personal holiday photographs,” adds the gallery.

“In defiance of this, Meyerowitz’s work demonstrated how the medium allowed nuanced contemplation of form, composition, and mood.”

Meanwhile, at the ongoing display at Tate Modern, London, visitors will see Joel’s progression from colour to black and white in the 1960s, when he first began to embrace the limitations and aesthetics introduced by colour film. Featured works include A Question of Color, in which Joel carried around two cameras and shot nearly the same scene both in colour and black and white.

The Nature Photography Contest 2023 winners and finalists

The Nature Photography Contest 2023 winners and finalists
image

‘Sibolangit, SOCP quarantine centre, North Sumatra, Indonesia. The whole SOCP team works together to prepare Brenda, an estimated three-month-old female orangutan (she has no teeth yet), for surgery. A sedative is administered, the arm is shaved, her temperature is taken, while others hold her head or her hand out of compassion for the baby … Brenda was confiscated from a villager in Blang Pidie on the west coast of Aceh who was keeping her as a pet’

NCT’s Jaemin Dishes On His Passion For Photography, Upcoming Solo Exhibition, And More

NCT’s Jaemin Dishes On His Passion For Photography, Upcoming Solo Exhibition, And More

NCT’s Jaemin has graced the cover of Esquire magazine!

The pictorial that was released on January 22 was conducted under the title “Jaemin from 5 to 7 o’ clock,” featuring Jaemin in a comfortable atmosphere while wearing a variety of Fendi 2024 Spring/Summer outfits including a black suit, leather coat, and denim.

In the interview that followed the photo shoot, Jaemin dished on his passion for photography. In one of his previous interviews, Jaemin mentioned that he prefers the time spent on editing photos more than the time spent on taking them. Regarding this, Jaemin elaborated, “When taking pictures, I press the shutter frantically as I have to capture the moment. Then, about three or four months later, when I insert the SD card [into the computer] to find a specific image, all the memories from that time remain [in the memory card]—even moments I hadn’t thought about. I think the biggest charm of cameras is that they capture that time, that place, and the members. It may be a bit of a strange expression, but in some ways, I feel very grateful.”

When asked if the photos people can see at his solo exhibition are mainly of NCT DREAM members, Jaemin replied, “Yes. There are some landscape photos taken with a film camera too, but I plan to print them out in a smaller size and show them in a continuous series rather than hanging them up in large frames.”

He added, “Of course I am curious about how people will view my photos, but what I am most looking forward to in my solo exhibition is ‘empathy.’ Just like the feeling I got when looking through the memory card folders of my camera, I want NCTzens (NCT DREAM’s official fan club name) who come to see the exhibition to be able to recall specific moments they shared with us.”

Jaemin shared, “It has the meaning of being my first solo photo exhibition, but indeed it is an event that looks back on the history of NCT DREAM. I think that is what fans are most excited about when it comes to my photo exhibition.”

Jaemin’s full pictorial and interview are available in the February issue of Esquire Korea.

Watch “Boys Mental Training Camp 2 – NCT DREAM”:

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