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bauhaus building, dessau, germany, 1925-1926, architect: walter gropius
Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.
The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.
The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.
Scrub mousse dalla consistenza soffice ma compatta. Ideale per viso e mani.
Esfoliazione 2 in 1: lo zucchero di canna svolge la prima esfoliazione, leggerissima, eliminando il primo strato di cellule morte e cancellando il colorito spento. Le sferette di cellulosa biodegradabile fungono da seconda esfoliazione, più profonda, rimuovendo le cellule morte restanti e stimolando il turnover cellulare.
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Trust the weatherman they said. The weekly forecast was consistently pointing towards a sunny Friday this past week. With Friday off of work, I had plans to head out with my camera since it has been a while. Of course, when I woke up it was nothing but clouds.
I decided to forego my plans and instead made it a day of running errands. Knowing the local already went east earlier in the morning, I had the scanner on while getting ready to head to Rochester. Just before heading out the door the scanner chirped and sure enough it was the local heading back west and they had just hit the 61.4 detector east of town. Luck would be on my side as a heavy snow squall had just hit town. I quickly grabbed my camera and we were out the door as the timing would be close by the time we got to the nearest crossing.
As a burst of heavy snow falls, the local approaches the 8th Avenue crossing on the west side of Kasson, MN. Today's work involved picking up an empty centerbeam of the Seneca spur in Rochester. The crew will pick up the remainder of their train left in Dodge Center and then head for their home terminal in Waseca to end the day.
Definitely what is Diabetes Standard Protocol?
Consistently, many individuals show up crying restlessly along these lines to their doctors in connection to the most hindering wellbeing issue I. e "Diabetes" normally known while diabetes mellitus, a few metabolic sicknesses where the man or lady characteristics higher blood glucose, now and then in light of the fact that insulin era is generally deficient, or maybe as the body's cells don't answer legitimately to help insulin, or maybe both just as. Sufferers alongside higher blood glucose will generally ability rehashed pee, and also people transform into more we get to be dry and hungry heading thought wellbeing and wellness diversion too like anxiety and inadequate centering.
To have the capacity to battle on this horrifying disease, Doctor. Kenneth Pullman accomplished for 24 hours most his presence to find an extreme and additionally last treatment for this lethal sickness. To help persons uproot that and also are carrying on an ordinary and sound presence, she has presented an effective preparing system named while "Diabetes Protocol" as a sensible digital book that would truly encourage you to escape from that will bothered zoom joined with Diabetes.
Absolutely what is thusly extraordinary over it?
"The Diabetes Protocol" builds nourishing on overall safeguarded and practicing all the time to keep an individual's build sound, the glucose levels inside level and also makes it workable for physical make-up to capacity legitimately. That demonstrates to persons best practices to begin living a salubrious lifestyle all of which will aid the evildoers to dispose of Diabetes out of their bodies in twenty days to weeks. This course helps guests to development couple of valuable practices that would aid every one of them inside years to come. By utilizing Diabetes Standard convention, persons has the capacity push out prediabetes and markdown diabetes assortment II. This is a solitary course that will puts glucose levels in commonplace develop. Which implies a lesser number of expenses as to physician endorsed medicine and also general discourse to help doctors whom simply help to make the money and in addition make tracks in an opposite direction from anybody without having such progressions. Given that Diabetes oblige think about get to be cured more than the specific medications to consider standard foundation.
What makes that work?
This framework is intended for any individual joined with pretty much any age gathering, encountering diabetes. Regardless of whether you could have as of late been existing close by the circumstances for a long stretch or maybe got recognized as having that simply recently, this may doubtlessly support you. The information and additionally mindfulness supplied in this digital book will completely stagger anybody and persuades you to unquestionably term intense normal while you will see veritable headways in your wellbeing and wellness. You may be staggered after figuring out much all the more about the strong impacts joined with way of life and eating regimen on your general wellbeing.
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Not long after your finishing joined with twenty days to weeks manage, the specific furthermore get ready will highlight the way at the end of the day you'll be prepared proceed with your chose nourishment and incorporate every one of them in your eating methodology, several yummy dishes which you have as of late been no attendant as to that long.
Figure out how to get "Diabetes Protocol"?
Positive point, Diabetes Standard convention is typically a truly easy to use furthermore sensibly estimated data digital book. With this framework, you have the capacity completely handle anything about the methodology to handle your diabetes, and also connected signs and side effects. Furthermore, you'll can endeavor in the solid and also secured strategy.
Mcdougal peculiarities comparably as of late been supplying a few increases and redesigns. On account of this, you have the capacity read all the more about more in connection to numerous wellbeing issues, alongside the specific medicinal business. On the net help in the organization can be found to your any sort of inquiries. You'll gain the numerous help you call for at whatever point.
Visita nuestro Blog de Semana Santa en:
asociacionredobles.blogspot.com
Actos que se van a desarrollar durante la conmemoración del 200º aniversario del
rescate del Cristo de la Cama, consistente en el traslado de la Imagen desde la Iglesia
de Santa Isabel de Portugal (vulgo San Cayetano) a la Basílica del Pilar.
El rescate se produjo el 17 de febrero de 1809 del Convento de San Francisco, lo que
actualmente es la Diputación Provincial. El día 10 los franceses volaron el Convento,
que era defendido por unos cuantos aragoneses y por los voluntarios de Valencia. El
día 17, María Blánquez entro en el convento y vio que todos los pasos que
procesionan en Semana santa, quince en total, estaban destruidos, salvo el Santísimo
Cristo de la Cama, que estaba indemne en su Capilla de la Hermandad. Salió a la
calle, cogió a cuatro hombres, volvió a entrar al convento y todos ellos cogieron al
Cristo de la cama. Lo llevaron primero a la parroquia de la santa Cruz, después a la
de Santiago y finalmente al Palacio Arzobispal, lugar en donde vivía el general
Palafox, que enfermo lo venero y ordeno fuera llevado al interior de la Basílica del
Pilar, siendo colocado en el Altar de los convertido mirando a su Madre, la virgen del
Pilar.
Este hecho es el que conmemoramos.
A las 18´00 horas se oirá en la Ciudad de Zaragoza a los Artilleros de Aragón
anunciando el comienzo de la procesión cívico religiosa.
Con la salida desde San Cayetano de la Bandera de la Hermandad de la Sangre de
Cristo dará comienzo la procesión, encontrándose el resto de participantes ubicados
en la plaza. Seguidamente saldrá la peana, portada a varal, del Cristo de la Cama. Lo
hará con un toque preparado para la ocasión por la Sección de Tambores de la
Hermandad de San Joaquín y Virgen de los Dolores. Una vez que nuestro Cristo de la
Cama este en la plaza sonara el Himno Nacional interpretado al órgano por Ignacio
Navarro Gil.
Finalizado el himno, se descubrirá una placa en cerámica de Muel, promovida por la
Asociación Cultural Redobles. Dicha placa será descubierta por el Ilmo. Sr. D.
Francisco Javier Lambán Montañés, o persona en quien en delegue, acompañado por
el Hermano Mayor de la Hermandad de la Sangre de Cristo. A la vez que se descubre
la placa, don José Antonio Armillas, Comisario del Bicentenario glosara brevemente
la figura de María Blánquez y lo que ella significo.
Finalizado este acto, dará comienzo en sí el desfile.
Por la calle Manifestación, calle Alfonso y calle Coso, nos dirigiremos a la plaza de
España, en donde se realiza el segundo acto del desfile. Este consiste en depositar dos
coronas de laurel. La primera en la placa que recuerda al Convento de San Francisco
y la segunda en el monumento a los Mártires.
La del Convento de San Francisco será portada por mujeres ataviadas con el traje
regional, en recuerdo y homenaje a María Blánquez. Entregada por don Francisco
Javier Lambán Montañés (o persona en quién delegue), le acompañaran el
Comandante Militar de Zaragoza, General Juan Pinto y el Hermano Mayor de la
Sangre de Cristo. La recibirán dos soldados del Batallón Pardos de Aragón.
La segunda corona, la entregara don Juan Alberto Belloch Julve (o persona en quién
delegue), acompañado también por el Comandante Militar y el Hermano Mayor,
siendo recibida por dos soldados del Batallón de Infantería Voluntarios de Aragón.
Durante este acto sonara en la plaza el Carillón de la Diputación Provincial con
marchas alusivas a los Sitios.
Finalizado el acto, continuaremos el desfile en dirección a la Plaza de la Seo por calle
don Jaime, calle Mayor, calle Dormer, calle Cisne y calle Cuellar.
En la plaza de la Seo se realiza el tercer y último acto. Consiste en una breve
alocución del General Pinto, Comandante Militar de Zaragoza y Teruel, en recuerdo
y homenaje del General Palafox. A Su conclusión, el Batallón de Infantería
Voluntarios de Aragón hará una descarga de fusilería.
Ya para finalizar, nos encaminaremos a la plaza del Pilar, finalizando el desfile,
alrededor de las 20´30 horas, con la entrada del Cristo de la Cama en la Basílica, en
donde permanecerá hasta el miércoles 25 de febrero.
Finalizado el desfile y por lo tanto el traslado, la Hermandad de la Sangre de Cristo
realizara una ofrenda a la Virgen del Pilar.
La Hermandad de la Sangre de Cristo, con el fin de dar mayor realce a este
acontecimiento histórico, ha invitado a participar a todos aquellos Ayuntamientos e
Instituciones galardonados con la Medalla del Bicentenario “Defensor de Zaragoza”,
distinción que también ha obtenido la propia Hermandad. Han confirmado su
asistencia una representación de los Ayuntamientos de Alcañiz, Barbastro, Calatayud,
Cariñena, Chelva, Huesca, Jaca, monzón y Valencia. También han confirmado su
participación los Artilleros de Aragón, Batallón Pardos de Aragón, Batallón de
Infantería Ligera Voluntarios de Aragón, la Asociación Cultural Royo del Rabal
(ronda y escenificación de personajes históricos de la época), la Asociación Cultural
Los Sitios (personajes históricos de la época), la Hermandad de San Juan de la Peña,
la Cofradía del Santo Sepulcro, la Hermandad del santo Refugio, la Real Ilustre
Congregación de Nuestra Señora de la Soledad de Madrid y la Real Maestranza de
Caballería.
La parte musical durante el desfile correrá a cargo de la Banda de Guerra de la
Brigada de Caballería Castillejos II, de la Banda Música de la Academia General
Militar y la Ronda de jotas de la Asociación Cultural el Rabal. Durante el desfile y
con el fin de que los peaneros lleven el ritmo adecuado, les acompaña un piquete de
diez instrumentos, cuyos miembros son de la cofradía de la Institución de la Sagrada
Eucaristía, que lo harán sin los distintivos propios de la Cofradía.
Cabe destacar el estreno de una marcha procesional en las calles de Zaragoza. La
primera y ultima pieza que interprete la Banda de Música será la Marcha al Cristo de
la Cama, cuyo autor es don Abel Moreno y que fue donada a la Hermandad por la
Asociación para el Estudio de la Semana Santa.
Ernesto Millán Lázaro
Hermano Mayor
Hermandad Sangre de Cristo
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Lundy Granite walling of the lighthouse tower of the Old Light, Lundy.
Peregrine Harriers(*) Expedition 3, November 5-10, 2006: North Devon including Lundy (#1)
Completed 1819-1820. Height 29.3 m (96 ft). Walls 1.1 m (3 ft 6 in) at the base tapering to 0.6 m (2 ft) at the lantern, with a consistent cavity of 76 mm (3 in). The spiral stone staircase inside has 147 steps. Built of Lundy Granite (Paleocene, c. 60 million years old).
On this, our first trip to Lundy, our party stayed in the adjacent keepers' quarters and in the next building.
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THE OLD LIGHT: BACKGROUND
Being a rocky island surrounded by cliffs, and in a busy shipping lane open to the Atlantic Ocean, Lundy has always been a major hazard, and has a long history of wrecks. Ideas for a lighthouse on Lundy began in 1786. The site chosen here was Beacon Hill, 122 m (470 ft) above sea level. Foundations were begun in 1787, but after a long delay, the lighthouse and keepers' quarters (not visible here) were eventually built in a year in 1819-1820. It was the highest location for a lighthouse in Britain. It was built substantially out of large blocks of Lundy Granite to withstand Atlantic gales, and incorporated many innovations. But at this height, and in this location, it was also prone to low cloud when there was good visibility at sea level. Less elevated lighthouses, one at each end of the island, were built to replace it in 1896-7, and the Old Light abandoned. The Old Light and keepers' quarters were designed by Daniel Asher Alexander, with the working interiors inspired by Piranesi's prints. It is now used for visitor accommodation, managed by the Landmark Trust.
--- www.landmarktrust.org.uk/our-landmarks/properties/le-moul...
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* PEREGRINE HARRIERS
This was our first stay on Lundy with our little natural history and geology group, the 'Peregrine Harriers'. We do a trip each year. Our name, a fusion of two different birds of prey, dates from our this visit to Lundy. It is a self-confession of our inability to identify birds of prey.
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LUNDY
Lundy is an island off North Devon at the mouth of the Bristol Channel where it faces the open Atlantic Ocean. (In some interpretations of the island's name, the 'y' means 'island' in which case, it is tautological to refer to it as (e.g.) 'The island of Lundy'.) It is the biggest island in the Bristol Channel and is 4.88 Km long (N-S) and about 1.5 Km wide at its widest point. Most of the island consists of granite, and is plateau-like, around 120 m above sea level. The island is one-third closer to Devon to the S, than to South Wales to the N, on the opposite shore of the Bristol Channel. It currently takes 2 hours by the summer ferry service from Ilfracombe or Bideford, or about 10 minutes by the winter helicopter service from Hartland Point.
Lundy is administratively part of the Torridge District in North Devon. It is owned by the National Trust. it is sparsely inhabited and farmed mostly for livestock. There are no roads, only footpaths and rough tracks. It is traffic-free apart from a few farm and utility vehicles. But it has an airstrip - a broad flat field used by private light aircraft from time to time - and the local helicopter service uses a field near the village. A scattering of 23 houses and other buildings offer good accommodation by the Landmark Trust. Its attractions are mainly its natural history, above and below water, and its spectacular cliff and tor scenery. It has interesting history. It is a Site of Special Scientific Interest and is Britain's first designated Marine Conservation Area.
--- en.wikipedia.org/wiki/Lundy
--- www.nationaltrust.org.uk/lundy/
--- www.landmarktrust.org.uk/Lundyisland/
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Photo
Brian Roy Rosen
Photo taken November 8, 2006 on a Nikon F601 with Nikon AF 35-80 mm lens, processed and scanned by Bonusprint.
(Flickr 'taken' date and exif data are for the Bonusprint scan.)
Uploaded to Flickr August 12, 2014
© Darkroom Daze Creative Commons.
If you would like to use or refer to this image, please link or attribute.
ID: 007_4 - Version 2
Pena Excels in Return To Lake County
June 8, 2008 · By Tony Lastoria
With nine games to play in the first half of the season, Indians low Single-A affiliate Lake County holds a tenuous one game lead in the Northern Division of the South Atlantic League (SAL). While the starting pitching at Lake County has been the backbone of the team, the offense has been paced by the consistent performance all year of outfielder Roman Pena.
Pena is in his second stint at Lake County, as he played there last year hitting .240 with 7 HR, 70 RBI and a .698 OPS in 123 games. This year, he was in line for a promotion to advanced Single-A Kinston, but because of a backup in the system in the outfield and also still needing to work on some things at the low-A level, the Indians sent him back to Lake County. By staying at Lake County he can play everyday and gain confidence, which is something that has shown itself the first half of the season.
"Yeah, I like it out here," said Pena in an interview recently at Classic Park. "I like this team, stadium, the manager and the staff and all that. I know I can be on another team, but that is fine. As far as numbers go, I am just going out there playing the game. At least I get to keep playing."
There is no doubt Pena could be in Kinston right now, but had he made the roster there out of spring training he would have been the fourth outfielder on a team that already had highly regarded prospects Nick Weglarz, John Drennen, and Cirilo Cumberbatch in the starting outfield. Instead of making the roster there as a fourth outfielder and playing sparingly, as Jason Denham has in that role there, Pena came back to Lake County to hone his craft and play full time. With the numbers he has put up in the first half at Lake County, he surely will be on the move soon to Kinston, especially since someone like Drennen could be on the move to Double-A Akron by the end of the month. Possibly after the All-Star break which is just over a week away.
So far, the return to Lake County has paid off for Pena as he is having a monster year for the Captains. In 57 games, Pena is hitting .321 with 4 HR, 41 RBI and an .841 OPS. He leads the team in hits, doubles, home runs, RBI, and total bases, and he is 5th in the league in hitting and 8th in RBI. He was also one of six Lake County players named to the SAL All-Star game, which will be played on June 17th in Greensboro, NC.
"He is definitely more confident this year," said Jim Rickon, who is the hitting coach at Lake County. "He is a little bit smarter, which obviously comes with another year in the game and having a little more experience under his belt. I think this year he is a little more balanced and staying on the ball a little bit longer. He is not trying to pull off the ball as much, and that has helped along with the little bit of experience he has gained."
Pena is an exciting left-handed hitter who has line drive power to all fields. He also showcases a very strong arm in the outfield due to his experience as a pitcher in high school where his fastball clocked in as high as 88 MPH. With his power arm and electric bat, he has a lot of potential to be a good right fielder.
Pena was drafted out of Montgomery High School (CA) in the 9th round of the 2005 Draft. Originally from Mexico, Pena attended school in San Diego, CA since 7th grade. As a young kid drafted out of high school, it was a dream come true for Pena.
"It was one of my dreams, because I want to play in the big leagues," said Pena. "When I got drafted I said this is where it all starts and here we go."
Every draftee experiences that rush on draft day, the feeling that "they made it". But, that feeling gets a quick dose of reality once they sign and start playing baseball in the low minors. For many, it is an eye-opener when they get to the minors because of how far away that dream really still is even though they are now a professional baseball player. When you start off in the rookie levels, the major leagues are but a star way off in the distance.
"I didn't think it was going to be this hard," said Pena. "Sometimes it is hard to play this game, but you gotta do your best to make it easy on yourself and have fun."
One of the early issues Pena encountered in his first two seasons in the minors in 2006 and 2007 was developing a good plan at the plate and becoming a more disciplined hitter. In 660 career at bats coming into this season Pena struck out 205 times, which is about once every three at bats. Included in that total is a whopping 138 strikeouts in 455 at bats he had last year at Lake County. So, when it came time to set some goals for this season, Pena put most of his focus on his approach at the plate.
"I want to improve my at bats and two strike approach," said Pena. "Last year I had 138 strikeouts, so I am just trying to improve it this year. I have improved a little bit, and I still get strikeouts because it is just part of the game. I mostly work on it during batting practice, and then in games just go out there and play everyday and have fun."
Pena has an advantage over most of the players on his team, and in the league for that matter, in that this is his second year playing a full season. For many players, learning to adapt from playing 50-60 games a year to 140 games a year is hard to do, and even Pena struggled with it last year when he was exposed to it for the first time. A lot of players have a hard time learning to deal with the ups and downs that a 140-game, five month season brings. It is a grind, and a real test how mentally touch a player may be.
"In your first year you can get frustrated when you are not hitting," said Pena. "Watching the guys this year, they focus so much on the numbers. Sometimes I will tell them not to go into the cage and go crazy because you are going to get a lot of at bats. Last year I had 455 at bats, and I was in the cage all day everyday. Your body gets tired in the second half of the season and you need to learn how to handle that. If you go 0-for-4, there is nothing wrong with your swing and just stay with what you are doing."
This past offseason, Pena played winter ball in Mexico for the second straight offseason. Winter ball can be beneficial to players who are looking to get some at bats or pitch some innings because of missed time during the season because of an injury. But, winter ball can also give a player an edge by allowing them to work on one area of their game and get valuable insight from more experienced teammates on the roster. Last year in Mexico, Pena played about 44 games which was a big increase in playing time over the two full games and about 19 at bats he had the previous year there.
"Yeah, it helps a lot playing winter ball," said Pena. "You get a lot of experience over there as you see a lot of off-speed pitches. The pitchers really work the counts. It is a different world from here. I always hang out with the players who have played there longer and they teach me things like how to watch the pitchers or hitters. I definitely learned a lot down there."
Pena wears a gold necklace that has a pendent in the shape of the number nine hanging from it. The necklace carries special significance to Pena, as the number nine was worn by his grandmother Olypia Zonta when she played softball.
"Yeah, my grandma taught me how to play baseball," said Pena. "She used to wear #9, and I have been wearing #9 since I was like four years old. When I was in the GCL in 2006, I picked the number and I have been getting this number since then. Some of the guys here like #9 too, but when you play one year in one league you get to choose your number first."
Pena will be on the move soon, and since no one currently wears that number up in Kinston he should have no problem retaining it.
Photo courtesy of Carl Kline
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
January Jones ,
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Weld-Ons are manufactured with consistently sharp points to ensure positive contact when welded to sheet metal. Produced from carbon alloy steel, the point of the welding pin is hardened in a unique cold form process. This process hardens the points, giving them a steel temper that will not blunt or fl atten when applied, unlike other welding pins. The sharper point of contact results in a better weld and creates fewer sparks that can ignite adhesives or burn substrates. Weld-Ons are easily applied using any conventional portable or automatic resistance welding unit. Cup style washers are included with each pail and are designed to suffi ciently depress the insulation surface without tearing it.
Product comes in 1/2", 3/4", 1", 1-1/8", and 1-1/2" lengths and quantities of 3,000, and 5,000 per bucket.
More information about this product can be found at
bauhaus building, dessau, germany, 1925-1926, architect: walter gropius
Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.
The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex. A two-storey bridge which housed, e.g., the administration department and, until 1928, Gropius’s architectural practice, connects the workshop wing with the vocational school. A single-storey building with a hall, stage and refectory, the so-called Festive Area, connects the workshop wing to the studio building. The latter originally featured 28 studio flats for students and junior masters, each measuring 20 m². The ingenious design of the portals between the foyer and the hall and a folding partition between the stage and the refectory, along with the ceiling design and colour design, impart a grandiose spatial coalescence to the sequence of foyer-hall-stage-refectory, shaping the so-called Festive Area. The façade of the students’ dormitory is distinguished in the east by individual balconies and in the south by long balconies that continue around the corner of the building.
The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. For the interior, the junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.
Source: Alfa_Romeo_Giulia-US-car-sales-statistics
Warm welcome or cold shoulder is a new series here on CarSalesBase.com, where we discuss the sales performance of new models in their first year or so on the market. How have they performed in terms of sales: above or under expectations? What could be the reasons for their success or failure? And what do we expect for their future – will it improve or get worse?
First we tackle the Alfa Romeo Giulia, simply because it’s one of the most talked-about launches in recent years and by far the most popular car here on CSB in terms of pageviews. As always, feel free to join the discussion by commenting below or answering the poll at the bottom.
Let’s start with the US, the most difficult market for the Giulia: there have been some articles and comments across the web suggesting the Giulia is a sales failure in the US, pointing out Alfa has only sold 7.900 of them in the first eleven months of this year. Of course, that figure looks a bit bleak when compared to established models like the Audi A4 and BMW 3-Series, which sold almost 30.500 and 54.000 units during that same period. Then again, these brands and models have been around for decades which has given them great brand recognition, a faithful share of repeat buyers and not to forget a much larger dealer network (300 and 341 compared to 184). Alfa Romeo, on the other hand, has not been present in North America for nearly two decades and the few who still remember the brand mostly remember its reputation for poor quality. The US is a mature market and the midsized premium sedan segment is fiercely competitive as even an established brand like Cadillac has had trouble carving out a piece of that pie with the ATS, arguably one of the best cars it has made in a decade. So for a brand that has returned to the market after decades of non-presence, selling an average of 900 luxury sedans a month after its initial launch period is not all that bad.
A better comparison for the Giulia would be the Jaguar XE, another premium mid-sized sedan from a lower-volume luxury brand that was launched a few years ago without a direct predecessor. What’s more, Jaguar has 163 about dealers in the US, more in line with Alfa Romeo’s figure. Jaguar sold about 8.000 copies of the XE in the US in the first 10 months of 2017, not much more than the Giulia has sold, but I haven’t heard a single voice or read a single article claiming the XE is a failure. And keep in mind the Giulia was only launched in the first quarter of this year so its deliveries didn’t pick up traction until the second quarter. From May onwards the Giulia has consistently outsold its British rival. Also, the Alfa has been hampered by some software glitches that not only delayed deliveries but also didn’t do much good to its still very fragile image, proving those critics right that have continued the image of unreliable Italian cars. Not a great way to relaunch a brand and gain confidence from buyers looking to spend upwards of $40,000 on a new car. I think the major reason for the image of “failure” is that the goals set by FCA itself had been set unrealistically high and when the sales figures did not live up to those high expectations, it was easy to call it a failure. If only the company had been a bit more humble (or even just realistic) in their projections, the Giulia would not be considered a mishap. Perhaps the MotorTrend “Car of the Year” award can help put the Giulia on the shopping lists of more Americans, even though I personally take all these different COTY awards with more than a pinch of salt and so should everybody else.
Europe, the story is a bit different. Italian cars are traditionally known for being very dependent on their home market, with for example 80% of Fiat Panda and 64% of Alfa Romeo Giulietta coming from Italy. By comparison, just 38,5% of the Giulia‘s 19.201 European sales in the first 9 months of 2017 came from Italy, in line with the percentage of German sales for the Audi A4 and Mercedes-Benz C-Class and much lower than the 55% of European Jaguar XE sales coming from the UK. This suggests the Giulia’s appeal is better spread across the continent. The Giulia was behind the German 3 in fourth place of its segment when ruling out coupe/convertible models like the BMW 4-Series and Audi A5 and the Volvo V60 station wagon. It outsold the Jaguar XE and sold almost 4 times as many as the Volvo S60 and Lexus IS, the only other sedan-only alternatives that sell in significant numbers in Europe, where 42% of sales in this segment are station wagons and just 32% are sedans (the rest are hatchbacks like the DS5, 3-Series GT and 4-Series Gran Coupe, or coupe and convertible models). That means the Giulia only effectively competes with less than a third of its segment, resulting in an 11% market share of the premium midsized sedan segment. Not bad for an Italian newcomer in a segment traditionally dominated by the Germans and which is heavily dependent on fleet and lease orders. Those buyers often focus more on total cost of ownership than on purchase price which means resale values play a major factor, something in which the Germans are traditionally strong while the Giulia has no proven track record in that aspect.
So should Alfa Romeo still consider making a Giulia station wagon, as it had for its predecessors 156 and 159? I don’t think it should, as the potential volume for that version, which would really only sell in Europe, is about 30.000 units a year. That’s not enough for a company already struggling for cash, which it could put to better use by developing a replacement to the Giulietta or a crossover below the Stelvio, especially when considering some of the SW sales probably would cannibalize on those of the sedan. Considering the premium midsized sedan segment as a whole is losing share to crossovers like the Volvo XC60, Mercedes-Benz GLC and Audi Q5, the Giulia was facing an uphill battle from the beginning, while the Stelvio is supposed to be the real money (and volume) maker. But in order to (re-)establish the Alfa Romeo brand as a sporty alternative to the Germans and a full-blown luxury brand, the Giulia was needed to give the brand credibility by proving it could compete with them in their traditional stronghold: that of midsized sports sedans in which the BMW 3-Series is still the king of the hill. That’s also why it has focused so much attention on the low-volume, top-of-the-line Quadrifoglio version with 510hp, as that version was able to beat the M3 and rivals on paper as well as on the road. The widespread critical acclaim from press and punters put the Giulia and Alfa Romeo back on the map in Europe and I wouldn’t call it a sales failure at all, even if it hasn’t met the overly ambitious goals set by Sergio Marchionne.
Kriss’ second opinion
I am in two minds about the Giulia’s sales performance. On one hand Bart is absolutely right – if you look at the numbers the right way Giulia’s sales figures looks pretty good for (a) a sedan (b) from a brand that needs to reestablish itself (c) in a crowded market (d) that’s losing volume to crossovers. And if you view the Giulia as a car whose main goal was to put Alfa Romeo back on the map than I would say it has actually been successful – while the sales are so-so, it is viewed as a car that can go head-to-head with the segment’s leaders, unlike for example the compromised Jaguar XE and Cadillac ATS.
On the other hand, however, there is no denying that Alfa Romeo needs to start selling cars now that it has all but killed off the Mito and Giulietta, and in this respect the Giulia is not the success that the brand needs. As such, the acid test will come with the performance of the Stelvio SUV, a car entering a growing segment where established brand values count for less than in the traditional segments. If the Stelvio can generate volume (and profits) for the brand than this will serve as foundation for future growth. So far FCA, and Sergio Marchionne, seem to be determined to drive the brand to succeed. However, as we have seen with Audi’s, Lexus’ and Infiniti’s decades-long journeys, success in the premium segments takes a long time, and even then it is not guaranteed. The Giulia, however, remains one hell of a start for Alfa Romeo.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
ADO16 is the codename for the development of what became the Morris 1100, a small family car built by the British Motor Corporation (BMC) and, later, British Leyland. Throughout the 1960s, the ADO16 was consistently the UK's best-selling car.
Although most of the cars were manufactured in England, the model was also built in Spain by Authi, in Italy by Innocenti and at the company's own plant in Belgium. It was the basis for locally adapted similar cars manufactured in Australia and South Africa.
The vehicle was launched as the Morris 1100 on August 15, 1962. The range was expanded to include several rebadged versions, including the twin-carburettor MG 1100, the Vanden Plas Princess (from October 1962), the Austin 1100 (August 1963), and finally the Wolseley 1100 (1965) and Riley Kestrel (1965). The Morris badged 1100/1300 gave up its showroom space to the Morris Marina in 1971, but Austin and Vanden Plas versions remained in production in the UK till June 1974.
The estate version followed in 1966, called Countryman in the Austin version and Traveller in the Morris one, continuing the established naming scheme.
In 1964 the 1100 was Wheels magazine's Car of the Year.
The original Mark I models were distinctive for their use of a Hydrolastic suspension. Marketing material highlighted the spacious cabin when compared to competitor models which in the UK by 1964 included the more conservatively configured Ford Anglia, Vauxhall Viva HA and BMC's own still popular Morris Minor.
At the end of May 1967, BMC announced the fitting of a larger 1275 cc engine to the MG, Riley Kestrel, Vanden Plas and Wolseley variants.[5] The new car combined the 1275 cc engine block already familiar to drivers of newer Mini Cooper and Austin-Healey Sprite models with the 1100 transmission, its gear ratios remaining unchanged for the larger engine, but the final-drive being significantly more highly geared.[5]
The Mark II versions of the Austin and Morris models were announced, with the larger engine making it into these two makes' UK market ranges in October 1967 (as the Austin 1300 and Morris 1100S and 100). An 1100 version of the Mark II continued alongside the larger engined models.
Unusually for cars at this end of the market, domestic market waiting lists of several months accumulated for the 1300 engined cars during the closing months of 1967 and well into 1968. The manufacturers explained that following the devaluation of the British Pound in the Fall / Autumn of 1967 they were working flat out to satisfy export market demand, but impatient British would-be customers could be reassured that export sales of the 1300s were "going very well". MG, Wolseley, Riley and Vanden Plas variants with the 1300 engines were already available on the home market in very limited quantities, and Austin and Morris versions would begin to be "available here in small quantities in March [1968].
On the outside, a slightly wider front grille, extending a little beneath the headlights, and with a fussier detailing, differentiated Austin / Morris Mark IIs from their Mark I predecessors, along with a slightly smoother tail light fitting which also found its way onto the FX4 London taxi of the time. Austin and Morris grilles were now identical. The 1100 had been introduced with synchromesh on the top three ratios: all synchromesh manual gearboxes were introduced with the 1275 cc models at the end of 1967 and found their way into 1098 cc cars a few months later.
At the London Motor Show in October 1969 the manufacturers introduced the Austin / Morris 1300 GT, featuring the same 1275 cc twin carburetter engine as that installed in the MG 1300, but with a black full width grill, a black vinyl roof and a thick black stripe down the side.[8] This was BMC's answer to the Ford Escort GT and its Vauxhall counterpart. Ride height on the Austin / Morris 1300 GT was fractionally lowered through the reduction of the Hydrolastic fluid pressure from 225 to 205 psi.
Return to Forever is a jazz fusion group founded and led by keyboardist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better ;communicate; with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added.. Lenny White (who had played with Corea in Miles Davis's band) then replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded.
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions joined.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. Romantic Warrior continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008) The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty.
First group (1972-1973) The first edition of Return to Forever performed primarily Latin-oriented music. This initial band consisted of singer (and occasional percussionist) Flora Purim, her husband Airto Moreira on drums and percussion, Corea's longtime musical co-worker Joe Farrell on saxophone and flute, and the young Stanley Clarke on bass. Within this first line-up in particular, Clarke played acoustic double bass in addition to electric bass. Corea's electric piano formed the basis of this group's sound, but Clarke and Farrell were given ample solo space themselves. While Purim's vocals lent some commercial appeal to the music, many of their compositions were also instrumental and somewhat experimental in nature. The music was composed by Corea with the exception of the title track of the second album which was written by Stanley Clarke. Lyrics were often written by Corea's friend Neville Potter, and were quite often scientology themed- though this is not readily apparent to those not involved in Scientology itself. Clarke himself became involved in Scientology through Corea, but eventually left the sect in the early 1980s.
Their first album, titled simply Return to Forever, was recorded for ECM Records in 1972 and was initially released only in Europe. Their second album, Light as a Feather (1973), was released by Polydor and included the song, Spain, which also became quite well-known.
Jazz rock era (1973-1976) guitarist Bill Connors, drummer Steve Gadd and percussionist Mingo Lewis were added. However, Gadd was unwilling to tour with the band and risk his job as an in-demand session drummer. Lenny White (who had played with Corea in Miles Davis's band) replaced Gadd and Lewis on drums and percussion, and the group's third album, Hymn of the Seventh Galaxy (1973), was then rerecorded (the first recording, featuring Gadd on drums, was never released and has since disappeared).
The nature of the group's music had by now completely changed into jazz-rock, Their music was still relatively melodic, relying on strong themes, but the traditional jazz element was by this time almost entirely absent- replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar. A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.
While their second jazz rock album, Where Have I Known You Before, (1974) was similar in style to its immediate predecessor, Corea now played synthesizers in addition to electric keyboards (including piano), and Clarke's playing had evolved considerably- now using flange and fuzz-tone effects, and with his now signature style beginning to emerge. After Bill Connors left the band to concentrate on his solo career, the group also hired new guitarists. Although Earl Klugh played guitar for some of the group's live performances, he was soon replaced by the then 19-year-old guitar prodigy Al Di Meola, who had also played on the album recording sessions.
Their following album, No Mystery (1975), was recorded with the same line-up as "Where Have I Known You Before", but the style of music had become more varied. The first side of the record consisted primarily of jazz-funk, while the second side featured Corea's acoustic title track and a long composition with a strong Spanish influence. On this and the following album, each member of the group composed at least one of the tracks. No Mystery went on to win the Grammy Award for Best Jazz Performance by a Group.
The final album by this longest-lasting "classic" lineup of the group was Romantic Warrior (1976), which had by this time left Polydor for Columbia Records. This album would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.
After the release of Romantic Warrior and Return To Forever's subsequent tour in support (as well as having in addition signed a multi-million dollar contract with CBS), Corea shocked Clarke by deciding to change the lineup of the group and to not include either White or Di Meola
Final album (1977)
The final incarnation of Return to Forever featured a four piece horn section and Corea's wife Gayle singing vocals, but recorded only one studio album, Musicmagic (1977).After Musicmagic, Chick Corea officially disbanded the group.
Reunion (2008)
The classic Return to Forever line-up of Corea, Clarke, White, and Di Meola reunited for a tour of the United States that began in the summer of 2008. 2011 tour
From February 2011, the group commences a world tour in Australia. The line-up, billed as Return to Forever IV, is Chick Corea, Stanley Clarke, Lenny White, Frank Gambale and Jean-Luc Ponty
PUTKIN PRESENTS: THE ARCHITECT.
Back at you with the first #weaponwednesday in a while! I'll try to be more consistent about these in the future. Anyways, this is I guess a soft-launch of telling y'all a little more about me? While I'm not an architect(yet), it is something I've dreamt of being for as long as I can remember, and something I'm working towards in my professional life(can you believe I have a life outside of bricks? Although... it sometimes still has to do with bricks, just much bigger ones). Ironically, structures are probably the least common type of build I do, since they take so much planning and so many pieces. It's definitely something I'd like to tackle more in the future, and I do have some exciting structures to share with y'all eventually, including my displays from Brick Rodeo this year! Without further ado, I(or rather, Putkin) present to you: The Architect.
"...Oh finally, I can talk again. For the life of me, I can't figure out why I was just standing there holding this pose, unable to speak... Makes you think someone's watching all this. And I thought my gran was going crazy! Anyways, this here is an old hammer known as The Architect. Supposedly, you need to be licensed to properly wield it, can you believe that? Builders don't need to be licensed in countless jurisdictions, and make a fair bit more gold, but architects can't even have a good hammer be useful without a license? Backwards, these laws, I'll tell ya. I've heard this here hammer is capable of all sorts of damage to buildings, as well as being able to harness some restorative properties for structures. I guess the person who forged it couldn't make up their minds on its powers, so they just went for both sides of the same coin! I may not be capable of making axes myself, but if I could make one, I certainly wouldn't give it the extra property of "can actually regrow bark in a tree that's been partially chopped at," because it wouldn't make sense, would it? Ah, well. Different strokes for different folks, I guess. I guess I should put this thing back, before the licensing board charges me a fine..."
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
The Mascotte Kite Festival makes the most of the consistent prevailing winds blowing along The Hague's beach resort Scheveningen. Kite builders and enthusiasts from around the world come together to fly the fruits of their creative labour. The annual event sees the skies over the southern part of Scheveningen beach fill with kites of every shape and colour, flying teddy bears, elephants and fish. Visitors also get to stay up to date with the latest in kite-powered sport, from kite-surfing and kite-yachting to kite-skateboarding and kite-skiing.
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Scheveningen ziet ze vliegen tijdens het grootste internationale vliegerevenement van Nederland! Tijdens het Mascotte Vliegerfestival Scheveningen zijn voor het Kurhaus en naast De Pier de meest bijzondere vliegers uit alle hoeken van de wereld te bewonderen. Meer dan 200 vliegeraars uit vijf continenten en bijna twintig landen presenteren vliegershows en demonstraties in verschillende thema’s en disciplines: powerkiting, stuntvliegeren (Nederlands Kampioenschap) en megakite-éénlijnsvliegeren. De shows bieden een adembenemend schouwspel met vliegers in fantastische kleuren, talloze maten en met de meest waanzinnige vormen. Naast het demonstratieterrein is altijd plek genoeg om zelf te vliegeren. Beginnende en ervaren vliegeraars, groot of klein, iedereen is welkom om z'n eigen vlieger op te laten. Ook zijn er workshop voor kinderen waar ze zelf vliegertjes of vliegers kunnen maken en versieren. Tijdens het Vliegerfestival Scheveningen kun je bij één van de stands ook een kant-en-klare vlieger kopen.
How's everyone's new year going so far?
As teased on a few occasions (mostly cause it took me so damn long to actually sit down and get all these photos done), I present to you the S.H. Figuarts Sailor Uranus and Sailor Neptune, from a local comic book store on New Years Eve 2019. Seeing as these two hang out together on the show consistently, it only made sense to bring them into the horde as a duo.
In the world of Sailor Moon, there are many set relationships (or ships, if you're cool) between characters, but for me next to Darien & Serena, it's always going to be these two - Sailor Uranus and Sailor Neptune. Now, I can't exactly recall specifics with regards to their relationship in the 90s US dub, probably because censors figured the concept of a queer relationship would blow our delicate little minds. If we're going by official canon, these two lovebirds are amongst the last of the Outer Senshi to be introduced into the series, and really only show up in the third season of the anime. As I mentioned, my mind is somewhat of a haze when it comes to the show at this point, but I do seem to recall there were a couple of episodes where everyone thought Amara (US 90s Dub Uranus) was male, and where she was perceived to be hitting on Serena, much to the annoyance of Darien. I also seem to remember the pair going to a different high school than the Inner Senshi (original 5).
Rather than butcher the series any further, I'm just gonna move on.
As I've stated in earlier episodes, getting my hands on Sailor Moon Figuarts at an acceptable prices is, and remains, a test of patience and luck. Sometimes, things pan out (like here), sometimes not so much. What makes getting these two particularly annoying is that unbeknownst to me, Uranus and Neptune are actually Bandai online shop exclusives, much like many of their annoying to get Dragonball items. The chaos is of course, less here in North America as opposed to Japan, but this usually translates into a higher than normal MSRP. So given all this, I figure the $60 CAD a piece, taxes in, from a store no less, was pretty good.
Having said all that, upon opening you can at the very least appreciate the reasoning behind the slightly higher price. Each box comes with an absurd number of accessories, especially Uranus. Common to each would be a figure, several additional sculpts (both have four faces in total which range from netural expression to attacking, with Neptune having one dedicated to a serene, closed eye look), their weapon of choice (Space Sword for Uranus, Deep Aqua Mirror for Neptune) and the "gets the job done" stand. The sheer number of hands with each figure is definitely above average and should cover all your posing needs. There's also crossed arm optional parts for both figures, with an additional lovestruck face for Serena included with Uranus, and a hands clasped part for Neptune.
Overall, there are are 13 additional hand related options for each figure, in addition to the two hands that come with the figure itself.
Uranus and Neptune are among the taller of the Senshi, with Uranus reported to be 6', the tallest of them all (who I always figured was Jupiter.. oh well). Naturally the Black Widow figure is from a different series so the scaling there is questionable, but it's good to see amongst the Sailor Senshi that this difference is actually reflected properly, even if not so much in their footwear. To my eyes though, Uranus seems to be way too lanky, with Tamashii Nations only scaling the length of the various limbs and the abdomen of the standard figure, but nothing from a girth perspective. Interestingly, they didn't make the hands any different size as compared to the Inner Senshi, making either Sailor Moon and co having giant hands, or Sailor Uranus and co. having midget hands. Either or works for me from a comedy perspective. I'm pretty sure the Skirt and the chest section are exactly the same size across the board.
Proportions aside, I'd say that the figures again capture the essence of the character. Neptune has always been the more elegant of the the pair and she remains so here, though from a design perspective I've always favoured Jupitor and Saturn. Outfits, faces, hair, and so on all capture the anime aesthetic quite well, with allowances given due to the scale.
Rounding the usual bases, articulation is pretty good for a circa 2013-14 Figuarts, and are the same across the board for all the Sailor Senshi. You have ankles, single jointed knees, hips with pull down to allow for more range of motion, waist, mid torso, shoulders with some chest compress and bicep swivel, single jointed elbows, wrist, and head. All your gang sign flashing and Sentai style posing desires should be fulfilled for the most part, though more elegant sitting poses/kneeling poses aren't happening with the restriction of the skirt. Dynamic leaping poses, I'm happy to say, are technically doable, with assistance from the dynamic stand.
Paint is always a mixed bag with these older Figuarts releases. As always, most of the white coloured parts are painted in pearl white over translucent white plastic, giving the figures a slight shimmering effect. The overall paint job is pretty good from afar, but up close you're going to run into masking errors, particularly in areas where there is use of the white paint which has always had one or two less than stellar masking jobs on all five of the Senshi that are in my collection, as well as areas of other colour such as the straps on Neptune's feet. There's some nice shading at the base of Neptune's hair at the back.
Decal work on the eyes is solid, though the paint apps for the mouths are... okay, though fortunately the colouring is just a highlight of the face detailing itself.
Build quality itself is about what you'd expect for a Figuarts - use of plastics that generally don't warp under the slightest touch *cough* HASBRO *cough*. Tolerances on parts are overall good, with the strange exception of Uranus's arms that don't always want to stay in their pegs which can make posing her a bit of a pain - Neptune holds together much better from that regard. Assembly gaps are generally sanded down and covered with some paint, though they are still easily observable. There is a moulding seam running from front to back of Uranus's front hair piece.. not sure if that's just on mine or if that's a running acceptable QC thing.
There you have it - the second most prominent power couple in the Sailor Moon universe, at least in my books. The figures are pretty much what I expected them to be, and while they're not as aged as the original Dragonball figures, it would be interesting to see what improvements a line using the newest Figuarts bodies would be like. Though if Bandai has plans to do this, I'd love to know sooner than later so I can abandon my plans for completing the set.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Everglades National Park is an American national park that protects the southern twenty percent of the original Everglades in Florida. The park is the largest tropical wilderness in the United States and the largest wilderness of any kind east of the Mississippi River. An average of one million people visit the park each year. Everglades is the third-largest national park in the contiguous United States after Death Valley and Yellowstone. UNESCO declared the Everglades & Dry Tortugas Biosphere Reserve in 1976 and listed the park as a World Heritage Site in 1979, and the Ramsar Convention included the park on its list of Wetlands of International Importance in 1987. Everglades is one of only three locations in the world to appear on all three lists.
Most national parks preserve unique geographic features; Everglades National Park was the first created to protect a fragile ecosystem. The Everglades are a network of wetlands and forests fed by a river flowing 0.25 miles (0.40 km) per day out of Lake Okeechobee, southwest into Florida Bay. The park is the most significant breeding ground for tropical wading birds in North America and contains the largest mangrove ecosystem in the Western Hemisphere. Thirty-six threatened or protected species inhabit the park, including the Florida panther, the American crocodile, and the West Indian manatee, along with 350 species of birds, 300 species of fresh and saltwater fish, 40 species of mammals, and 50 species of reptiles. The majority of South Florida's fresh water, which is stored in the Biscayne Aquifer, is recharged in the park.
Humans have lived for thousands of years in or around the Everglades. Plans arose in 1882 to drain the wetlands and develop the land for agricultural and residential use. As the 20th century progressed, water flow from Lake Okeechobee was increasingly controlled and diverted to enable explosive growth of the Miami metropolitan area. The park was established in 1934, to protect the quickly vanishing Everglades, and dedicated in 1947, as major canal-building projects were initiated across South Florida. The ecosystems in Everglades National Park have suffered significantly from human activity, and restoration of the Everglades is a politically charged issue in South Florida.
Everglades National Park covers 1,508,976 acres (2,357.8 sq mi; 6,106.6 km2), throughout Dade, Monroe, and Collier counties in Florida, at the southern tip of the Atlantic coastal plain. The elevation typically ranges from 0 to 8 feet (2.4 m) above sea level, but a Calusa-built shell mound on the Gulf Coast rises 20 feet (6.1 m) above sea level.
The terrain of South Florida is relatively and consistently flat. The limestone that underlies the Everglades is integral to the diverse ecosystems within the park. Florida was once part of the African portion of the supercontinent Gondwana. After it separated, conditions allowed a shallow marine environment to deposit calcium carbonate in sand, shells, and coral to be converted into limestone. Tiny bits of shell, sand, and bryozoans compressed over multiple layers forming structures in the limestone called ooids, which created permeable conditions that hold water.
The Florida peninsula appeared above sea level between 100,000 and 150,000 years ago. As sea levels rose at the end of the Wisconsin ice age, the water table appeared closer to land. Lake Okeechobee began to flood, and convection thunderstorms were created. Vast peat deposits south of Lake Okeechobee indicate that regular flooding had occurred about 5,000 years ago. Plants began to migrate, subtropical ones from the northern part of Florida, and tropicals carried as seeds by birds from islands in the Caribbean. The limestone shelf appears to be flat, but there are slight rises—called pinnacles—and depressions caused by the erosion of limestone by the acidic properties of the water. The amount of time throughout the year that water is present in a location in the Everglades determines the type of soil, of which there only two in the Everglades: peat, created by many years of decomposing plant matter, and marl, the result of dried periphyton, or chunks of algae and microorganisms that create a grayish mud. Portions of the Everglades that remain flooded for more than nine months out of the year are usually covered by peat. Areas that are flooded for six months or less are covered by marl. Plant communities are determined by the type of soil and the amount of water present.
According to the Köppen climate classification system, Royal Palm at Everglades National Park has a tropical monsoon climate (Am). Summers are long, hot, and very wet and winters are warm and dry.
While they are common in the northern portion of Florida, no underground springs feed water into the Everglades system. An underground reservoir called the Floridan aquifer lies about 1,000 feet (300 m) below the surface of South Florida. The Everglades has an immense capacity for water storage, owing to the permeable limestone beneath the exposed land. Most of the water arrives in the form of rainfall, and a significant amount is stored in the limestone. Water evaporating from the Everglades becomes rain over metropolitan areas, providing the fresh water supply for the region. Water also flows into the park after falling as rain to the north onto the watersheds of the Kissimmee River and other sources of Lake Okeechobee, to appear in the Everglades days later. Water overflows Lake Okeechobee into a river 40 to 70 miles (64 to 113 km) wide, which moves almost imperceptibly.
At the turn of the 20th century, common concepts of what should be protected in national parks invariably included formidable geologic features like mountains, geysers, or canyons. As Florida's population began to grow significantly and urban areas near the Everglades were developed, proponents of the park's establishment faced difficulty in persuading the federal government and the people of Florida that the subtle and constantly shifting ecosystems in the Everglades were just as worthy of protection. When the park was established in 1947, it became the first area within the U.S. to protect flora and fauna native to a region as opposed to geologic scenery. The National Park Service recognizes nine distinct interdependent ecosystems within the park that constantly shift in size owing to the amount of water present and other environmental factors.
Freshwater sloughs are perhaps the most common ecosystem associated with Everglades National Park. These drainage channels are characterized by low-lying areas covered in fresh water, flowing at an almost imperceptible 100 feet (30 m) per day. Shark River Slough and Taylor Slough are significant features of the park. Sawgrass growing to a height of 6 feet (1.8 m) or more, and broad-leafed marsh plants, are so prominent in this region that they gave the Everglades its nickname "River of Grass", cemented in the public imagination in the title for Marjory Stoneman Douglas's book (1947), which culminated years of her advocacy for considering the Everglades ecosystem as more than a "swamp". Excellent feeding locations for birds, sloughs in the Everglades attract a great variety of waders such as herons, egrets, roseate spoonbills (Platalea ajaja), ibises and brown pelicans (Pelecanus occidentalis), as well as limpkins (Aramus guarauna) and snail kites that eat apple snails, which in turn feed on the sawgrass. The sloughs' availability of fish, amphibians, and young birds attract a variety of freshwater turtles, alligator (Alligator mississippiensis), water moccasin (Agkistrodon piscivorus conanti), and eastern diamondback rattlesnake (Crotalus adamanteus).
Freshwater marl prairies are similar to sloughs but lack the slow movement of surface water; instead, water seeps through a calcitic mud called marl. Algae and other microscopic organisms form periphyton, which attaches to limestone. When it dries it turns into a gray mud. Sawgrass and other water plants grow shorter in freshwater marl than they do in peat, the other type of soil in the Everglades which is found where water remains present longer throughout the year. Marl prairies are usually under water from three to seven months of the year, whereas sloughs may remain submerged for longer than nine months and sometimes remain under water from one year to the next. Sawgrass may dominate sloughs, creating a monoculture. Other grasses, such as muhly grass (Muhlenbergia sericea) and broad-leafed water plants can be found in marl prairies. Animals living in the freshwater sloughs also inhabit marl prairies. Marl prairies may go dry in some parts of the year; alligators play a vital role in maintaining life in remote parts of the Everglades by burrowing in the mud during the dry season, creating pools of water where fish and amphibians survive from one year to the next. Alligator holes also attract other animals who congregate to feed on smaller prey. When the region floods again during the wet season, the fish and amphibians which were sustained in the alligator holes then repopulate freshwater marl prairies.
Hammocks are often the only dry land within the park. They rise several inches above the grass-covered river and are dominated by diverse plant life consisting of subtropical and tropical trees, such as large southern live oaks (Quercus virginiana). Trees often form canopies under which animals thrive amongst scrub bushes of wild coffee (Psychotria), white indigoberry (Randia aculeata), poisonwood (Metopium toxiferum) and saw palmetto (Serenoa repens). The park features thousands of these tree islands amid sloughs—which often form the shape of a teardrop when seen from above (see park map) because of the slowly moving water around them—but they can also be found in pineland and mangroves. Trees in the Everglades, including wild tamarind (Lysiloma latisiliquum) and gumbo-limbo (Bursera simaruba), rarely grow higher than 50 feet (15 m) because of wind, fire, and climate.
The plant growth around the hammock base is nearly impenetrable; beneath the canopy hammocks is an ideal habitat for animals. Reptiles (such as various species of snake and anole) and amphibians (such as the American green tree frog, Hyla cinerea), live in the hardwood hammocks. Birds such as barred owls (Strix varia), woodpeckers, northern cardinals (Cardinalis cardinalis), and southern bald eagles (Haliaeetus leucocephalus leucocephalus) nest in hammock trees. Mammal species living in hardwood hammocks include Florida black bears (Ursus americanus floridanus), red foxes (Vulpes vulpes), minks (Neogale vison), marsh rabbits (Sylvilagus palustris), gray foxes (Urocyon cinereoargenteus), white-tailed deer (Odocoileus virginianus), and the rare, critically endangered Florida panther (Puma concolor couguar).
Miami-Dade County was once covered in 186,000 acres (290.6 sq mi; 752.7 km2) of pine rockland forests, but most of it was harvested by the lumber industry. Pineland ecosystems (or pine rocklands) are characterized by shallow, dry sandy loam over a limestone substrate covered almost exclusively by slash pines (Pinus elliottii var. densa). Trees in this ecosystem grow in solution holes, where the soft limestone has worn away and filled with soil, allowing plants to take hold. Pinelands require regular maintenance by fire to ensure their existence. South Florida slash pines are uniquely adapted to promote fire by dropping a large amount of dried pine needles and shedding dry bark. Pine cones require heat from fires to open, allowing seeds to disperse and take hold. The trunks and roots of slash pines are resistant to fire. Prescribed burns in these areas take place every three to seven years; without regular fires, hardwood trees begin to grow in this region, and pinelands become recategorized as mixed swamp forests. Most plants in the area bloom about 16 weeks after a fire. Nearly all pinelands have an understory of palm shrubs and a diverse ground covering of wild herbs.
Pine rocklands are considered one of the most threatened habitats in Florida; less than 4,000 acres (6.3 sq mi; 16.2 km2) of pineland exist outside the park. Within the park, 20,000 acres (31.3 sq mi; 80.9 km2) of pineland are protected. A variety of animal species meet their needs for food, shelter, nesting, and rooking in pine rocklands. Woodpeckers, eastern meadowlarks (Sturnella magna), loggerhead shrikes (Lanius ludovicianus), grackles, and northern mockingbirds (Mimus polyglottos) are commonly found in pinelands. Black bears and Florida panthers also live in this habitat.
Cypress trees are conifers that are adapted to live in standing fresh water. They grow in compact structures called cypress domes and in long strands over limestone. Water levels may fluctuate dramatically around cypress domes and strands, so cypresses develop "knees" that protrude from the water at high levels to provide oxygen for the root systems. Dwarf cypress trees grow in drier areas with poorer soil. Epiphytes, such as bromeliads, Spanish moss (Tillandsia usneoides), orchids and ferns grow on the branches and trunks of cypress trees. Everglades National Park features twenty-five species of orchids. Tall cypress trees provide excellent nesting areas for birds including wild turkey (Meleagris gallopavo), ibis, herons, egrets, anhingas (Anhinga anhinga), and belted kingfisher (Megaceryle alcyon). Mammals in cypress regions include white-tailed deer, squirrels, raccoons, opossums, skunks, swamp rabbits, river otters (Lontra canadensis), and bobcats, as well as small rodents.
Mangrove trees cover the coastlines of South Florida, sometimes growing inland depending on the amount of salt water present within the Everglades ecosystems. During drier years when less fresh water flows to the coast, mangroves will appear among fresh water plants. When rain is abundant, sawgrass and other fresh water plants may be found closer to the coast. Three species of mangrove trees—red (Rhizophora mangle), black (Avicennia germinans), and white (Laguncularia racemosa)—can be found in the Everglades. With a high tolerance of salt water, winds, extreme tides, high temperatures, and muddy soils, mangrove trees are uniquely adapted to extreme conditions. They act as nurseries for many marine and bird species. They are also Florida's first defense against the destructive forces of hurricanes, absorbing flood waters and preventing coastal erosion. The mangrove system in Everglades National Park is the largest continuous system of mangroves in the world.
Within the Florida mangrove systems live 220 species of fish, and a variety of crabs, crayfish, shrimp, mollusks, and other invertebrates, which serve as the main source of food for many birds. Dozens of bird species use mangroves as nurseries and food stores, including pelicans, grebes, tricolored herons (Egretta tricolor), gulls, terns, hawks and kites, and arboreal birds like mangrove cuckoos (Coccyzus minor), yellow warblers (Dendroica petechia), and white-crowned pigeons (Patagioenas leucocephala). The mangroves also support 24 species of amphibians and reptiles, and 18 species of mammals, including the endangered green turtle (Chelonia mydas), hawksbill turtle (Eretmochelys imbricata), and West Indian manatee (Trichechus manatus).
Coastal lowlands, or wet prairies, are salt water marshes that absorb marine water when it gets high or fresh water when rains are heavy. Floods occur during hurricane and tropical storm surges when ocean water can rise several feet over the land. Heavy wet seasons also cause floods when rain from the north flows into the Everglades. Few trees can survive in the conditions of this region, but plants—succulents like saltwort and glasswort—tolerate salt, brackish water, and desert conditions. Animal life in this zone is dependent upon the amount of water present, but commonly found animals include Cape Sable seaside sparrow (Ammodramus maritimus mirabilis), Everglades snail kite (Rostrhamus sociabilis), wood stork (Mycteria americana), eastern indigo snake (Drymarchon couperi), and small mammals such as rats, mice, and rabbits.
The largest body of water within the park is Florida Bay, which extends from the mangrove swamps of the mainland's southern tip to the Florida Keys. Over 800 square miles (2,100 km2) of marine ecosystem lies in this range. Coral, sponges, and seagrasses serve as shelter and food for crustaceans and mollusks, which in turn are the primary food source for larger marine animals. Sharks, stingrays, and barracudas also live in this ecosystem. Pelicans, shorebirds, terns, and black skimmers (Rynchops niger) are among the birds frequenting park shorelines. The bay also has its own resident population of bottlenose dolphin (Tursiops truncatus).
The bay's many basins are broken up by sandbanks that serve as plentiful recreational fishing grounds for snook (Centropomus undecimalis), redfish (Sciaenops ocellatus), spotted seatrout (Cynoscion nebulosus), tarpon (Megaflops atlanticus), bonefish (Albula vulpes), and permit (Trichinous falcatus),[48] as well as snapper (Lutjanus campechanus), bluegill (Lepomis macrochirus), and bass. Wading birds such as roseate spoonbills (Platalea ajaja), reddish egrets (Egretta rufescens), and great white herons (Ardea herodias occidentalis) have unique subpopulations that are largely restricted to Florida Bay. Other bird species include bald eagles, cormorants, and ospreys. Mammals along the shoreline include raccoons, opossums, bobcats, and fox squirrels.
Humans likely first inhabited the South Florida region 10,000 to 20,000 years ago. Two tribes of Native Americans developed on the peninsula's southern tip: the Tequesta lived on the eastern side and the Calusa, greater in numbers, on the western side. The Everglades served as a natural boundary between them. The Tequesta lived in a single large community near the mouth of the Miami River, while the Calusa lived in 30 villages. Both groups traveled through the Everglades but rarely lived within them, remaining mostly along the coast.
The diets of both groups consisted mostly of shellfish and fish, small mammals, game, and wild plants. Having access only to soft limestone, most of the tools fashioned by Native Americans in the region were made of shell, bone, wood, and animal teeth; shark teeth were used as cutting blades, and sharpened reeds became arrows and spears. Shell mounds still exist today within the park, giving archaeologists and anthropologists evidence of the raw materials available to the indigenous people for tool construction. Spanish explorers estimated the number of Tequesta at first contact to be around 800, and Calusa at 2,000; the National Park Service reports there were probably about 20,000 natives living in or near the Everglades when the Spanish established contact in the late 16th century. The Calusa lived in social strata and were able to create canals, earthworks, and shellworks. The Calusa were also able to resist Spanish attempts at conquest.
The Spanish had contact with these societies and established missions further north, near Lake Okeechobee. In the 18th century, invading Creeks incorporated the dwindling numbers of the Tequesta into their own. Neither the Tequesta nor Calusa tribe existed by 1800. Disease, warfare, and capture for slavery were the reasons for the eradication of both groups. The only evidence of their existence within the park boundaries is a series of shell mounds that were built by the Calusa.
In the early 19th century, Creeks, escaped African slaves, and other Indians from northern Florida displaced by the Creek War, formed the area's Seminole nation. After the end of the Seminole Wars in 1842, the Seminoles faced relocation to Indian territory near Oklahoma. A few hundred Seminole hunters and scouts settled within what is today Big Cypress National Preserve, to escape the forced emigration to the west. From 1859 to about 1930, the Seminoles and Miccosukee, a similar but linguistically unique tribe, lived in relative isolation, making their living by trading. In 1928, surveying and construction began on the Tamiami Trail, along the northern border of Everglades National Park. The road bisected the Everglades, introducing a steady, if small, traffic of white settlers into the Everglades.
Some members of the Miccosukee and Seminole tribes continue to live within park boundaries. Management of the park includes approval of new policies and procedures by tribal representatives "in such a manner that they do not conflict with the park purpose".
Following the end of the Seminole Wars, Americans began settling at isolated points along the coast in what is now the park, from the Ten Thousand Islands to Cape Sable. Communities developed on the two largest pieces of dry ground in the area, on Chokoloskee Island and at Flamingo on Cape Sable, both of which established post offices in the early 1890s. Chokoloskee Island is a shell mound, a midden built roughly 20 feet (6 m) high over thousands of years of occupation by the Calusa. The settlements in Chokoloskee and Flamingo served as trading centers for small populations of farmers, fishermen, and charcoal burners settled in the Ten Thousand Islands. Both settlements and the more isolated homesteads could only be reached by boat until well into the 20th century. Everglades City, on the mainland near Chokoloskee, enjoyed a brief period of prosperity when, beginning in 1920, it served as the headquarters for the construction of the Tamiami Trail. A dirt road from Florida City reached Flamingo in 1922, while a causeway finally connected Chokoloskee to the mainland's Everglades City in 1956.
After the park was established, private property in the Flamingo area was claimed by eminent domain, and the site was incorporated into the park as a visitor center.
Several attempts were made to drain and develop the Everglades in the 1880s. The first canals built in the Everglades did little harm to the ecosystem, as they were unable to drain much of it. Napoleon Bonaparte Broward based the majority of his 1904 campaign for governor on how drainage would create "The Empire of the Everglades". Broward ordered the drainage that took place between 1905 and 1910, and it was successful enough that land developers sold tracts for $30 per acre, settling the town of Davie, and developing regions in Lee and Dade counties. The canals also cleared water that made way for agricultural fields growing sugarcane.
In the 1920s, a population boom in South Florida created the Florida land boom, which was described by author Michael Grunwald as "insanity". Land was sold before any homes or structures were built on it and in some cases before any plans for construction were in place. New landowners, eager to make good on their investments, hastily constructed homes and small towns on recently drained land. Mangrove trees on the coasts were taken down for better views and replaced with shallow-rooted palm trees. The U.S. Army Corps of Engineers began construction on larger canals to control the rising waters in the Everglades. Nevertheless, Lake Okeechobee continued to rise and fall, the region was covered with rain, and city planners continued to battle the water. The 1926 Miami Hurricane caused Lake Okeechobee levees to fail; hundreds of people south of the lake drowned. Two years later, the 1928 Okeechobee Hurricane claimed 2,500 lives when Lake Okeechobee once again surged over its levees. Politicians who declared the Everglades uninhabitable were silenced when a four-story wall, the Herbert Hoover Dike, was built around Lake Okeechobee. This wall effectively cut off the water source from the Everglades.
Following the wall's construction, South Florida endured a drought severe enough to cause serious wildfires in 1939. The influx of humans had a detrimental effect on the plants and animals of the region when melaleuca trees (Melaleuca quinquenervia) were introduced to help with drainage, along with Australian pines brought in by developers as windbreaks. The region's timber was devastated for lumber supplies. Alligators, birds, frogs, and fish were hunted on a large scale. Entire rookeries of wading birds were shot to collect their plumes, which were used in women's hats in the early 20th century. The largest impact people had on the region was the diversion of water away from the Everglades. Canals were deepened and widened, and water levels fell dramatically, causing chaos in food webs. Salt water replaced fresh water in the canals, and by 1997 scientists noticed that salt water was seeping into the Biscayne Aquifer, South Florida's water source.
In the 1940s, Marjory Stoneman Douglas, a freelance writer and former reporter for The Miami Herald, began to research the Everglades for an assignment about the Miami River. She studied the land and water for five years and published The Everglades: River of Grass in 1947, describing the area in great detail, including a chapter on its disappearance. She wrote: "What had been a river of grass and sweet water that had given meaning and life and uniqueness to this enormous geography through centuries in which man had no place here was made, in one chaotic gesture of greed and ignorance and folly, a river of fire." The book has sold 500,000 copies since its publication, and Douglas's continued dedication to ecology conservation earned her the nicknames "Grand Dame of the Everglades", "Grandmother of the Everglades" and "the anti-Christ" for her singular focus at the expense of some political interests. She founded and served as president for an organization called Friends of the Everglades, initially intended to protest the construction of a proposed Big Cypress jetport in 1968. Successful in that confrontation, the organization has grown to over 4,000 members, committed to the preservation of the Everglades. She wrote and spoke about the importance of the Everglades until her death at age 108 in 1998.
Floridians hoping to preserve at least part of the Everglades began to express their concern over diminishing resources in the early 20th century. Royal Palm State Park was created in 1916 and protected Paradise Key; it included several trails and a visitor center several miles from Homestead. Miami-based naturalists first proposed that the area become a national park in 1923. Five years later, the Florida state legislature established the Tropical Everglades National Park Commission to study the formation of a protected area. The commission was led by Ernest F. Coe, a land developer turned conservationist, who was eventually nicknamed Father of Everglades National Park. Coe's original plan for the park included more than 2,000,000 acres (3,125.0 sq mi; 8,093.7 km2) including Key Largo and Big Cypress, and his unwillingness to compromise almost prevented the park's creation. Various other interests, including land developers and sport hunters, demanded that the size of the park be decreased.
The commission was also tasked with proposing a method to raise the money to purchase the land. The search coincided with the arrival of the Great Depression in the United States, and money for land purchase was scarce. The U.S. House of Representatives authorized the creation of the new national park on May 30, 1934, but the Act (HR 2837), which permanently reserved lands donated by public or private donation as wilderness, passed only with a rider that ensured no money would be allotted to the project for at least five years. Coe's passion and U.S. Senator Spessard Holland's politicking helped to fully establish the park, after Holland was able to negotiate 1,300,000 acres (2,031.2 sq mi; 5,260.9 km2) of the park, leaving out Big Cypress, Key Largo, the Turner River area, and a 22,000-acre (34.4 sq mi; 89.0 km2) tract of land called "The Hole in the Donut" that was too highly valued for agriculture. Miami Herald editor John Pennekamp was instrumental in pushing the Florida Legislature to raise $2 million to purchase the private land inside the park boundaries. It was dedicated by President Harry Truman on December 6, 1947, one month after Marjory Stoneman Douglas's book The Everglades: River of Grass was released. The same year, several tropical storms struck South Florida, prompting the construction of 1,400 miles (2,300 km) of canals, sending water unwanted by farmers and residents to the ocean.
The Central and Southern Florida Flood Control Project (C&SF) was authorized by Congress to construct more than one thousand miles of canals and flood control structures across South Florida. The C&SF, run by the U.S. Army Corps of Engineers, established an agricultural area directly south of Lake Okeechobee, and three water conservation areas, all bordered by canals that diverted excess water either to urban areas or into the Atlantic Ocean, Gulf of Mexico or Florida Bay. South of these manmade regions was Everglades National Park, which had been effectively cut off from its water supply. By the 1960s, the park was visibly suffering. The C&SF was directed to provide enough water to sustain the park; it did not follow through. A proposed airport that would have dire environmental effects on Everglades National Park became the center of a battle that helped to initiate the environmental movement into local and national politics. The airport proposal was eventually abandoned, and in 1972 a bill was introduced to curb development in South Florida and ensure the national park would receive the amount of water it needed. Efforts turned to repairing the damage wrought by decades of mismanagement: the Army Corps of Engineers changed its focus in 1990 from constructing dams and canals to constructing "purely environmental projects".
Regions originally included in Ernest Coe's vision for a national park were slowly added over the years to the park or incorporated into other protected areas: Biscayne National Park, Big Cypress National Preserve, John Pennekamp Coral Reef State Park on Key Largo, Ten Thousand Islands National Wildlife Refuge, and Florida Keys National Marine Sanctuary were all protected after the park's opening in 1947. Everglades National Park was designated an International Biosphere Reserve on October 26, 1976. On November 10, 1978, 1,296,500 acres (2,025.8 sq mi; 5,246.7 km2), about 86% of the park, was declared a wilderness area. It was renamed the Marjory Stoneman Douglas Wilderness in 1997. It was listed as a UNESCO World Heritage Site on October 24, 1979, and as a Wetland of International Importance on June 4, 1987. It was placed on the List of World Heritage in Danger from 1993 until 2007 and then again in 2010. The park was added again due to the continued degradation of the set causing significant indications of eutrophication (for example algal blooms) negatively impacting the marine life causing the US government to request UNESCO and IUCN for assistance in development.
President George H. W. Bush signed the Everglades National Park Protection and Expansion Act on December 13, 1989, that added 109,506 acres (171.1 sq mi; 443.2 km2) to the eastern side of the park, closed the park to airboats, directed the Department of the Army to restore water to improve the ecosystems within Everglades National Park, and "Direct(ed) the Secretary of the Interior to manage the Park in order to maintain the natural abundance, diversity, and ecological integrity of native plants and animals, as well as the behavior of native animals, as part of their ecosystem." Bush remarked in his statement when signing the act, "Through this legislation that river of grass may now be restored to its natural flow of water".
In 2000, Congress approved the Comprehensive Everglades Restoration Plan (CERP), a federal effort to restore the Everglades with the objectives of "restoration, preservation and protection of the south Florida ecosystem while providing for other water-related needs of the region", and claiming to be the largest environmental restoration in history. It was a controversial plan; detractors worried that it "relies on uncertain technologies, overlooks water quality, subsidizes damaging growth and delays its environmental benefits".[90] Supporters of the plan included the National Audubon Society, who were accused by Friends of the Everglades and the Biodiversity Legal Foundation of prioritizing agricultural and business interests.
The namesake of Anhinga Trail dries its feathers
CERP projects are designed to capture 1.7 billion US gallons (6,400,000 m3) of fresh water every day, store it in underground reservoirs, and release the water to areas within 16 counties in South Florida. Approximately 35,600 acres (55.6 sq mi; 144.1 km2) of man-made wetlands are to be constructed to confine contaminated water before it is released to the Everglades, and 240 miles (390 km) of canals that divert water away from the Everglades are to be destroyed. During the first five years of implementation, CERP was responsible for the purchase of 207,000 acres (323.4 sq mi; 837.7 km2) of land at a cost of $1 billion. The plan aims to spend $10.5 billion over 30 years, combining 50 different projects and giving them 5-year timelines.
Everglades National Park was directly hit by Hurricanes Katrina, Wilma, and Rita in 2005. Such storms are a natural part of the park's ecosystem; 1960's Hurricane Donna left nothing in the mangroves but "standing dead snags" several miles wide, but 30 years later the area had completely recovered. Predictably, what suffered the most in the park from the 2005 hurricanes were man-made structures. In 2009 the visitor center and lodge at Flamingo were irreparably damaged by 125 mph (201 km/h) winds and an 8 ft (2.4 m) storm surge; the lodge had been functioning for 50 years when it was torn down; nothing is slated to replace it.
Everglades National Park reported in 2005 a budget of over $28 million. Of that, $14.8 million was granted from the National Park Service and $13.5 million from various sources including CERP, donations, and other grants. The entry fee for private vehicles in 2021 is $30. Of the nearly one million visitors to Everglades National Park in 2006, more than 38,000 were overnight campers, paying $16 a night or $10 a night for backcountry permits. Visitors spent $2.6 million within the park and $48 million in local economies. More than 900 jobs were sustained or created within or by the park, and the park added value of $35 million to local economies.
Everglades National Park has had 19 superintendents since it was dedicated in 1947. The park's first superintendent, Daniel Beard (1947-1958), was also its longest-serving. After Superintendent Beard, Warren F. Hamilton served between 1958 and 1963, followed by Stanley C. Joseph (1963-1966), Roger W. Allin (1966-1968), John C. Raftery (1968-1970), Joseph Brown (1970-1971), Jack E. Stark (1971-1976), John M. Good (1976-1980), John M. Morehead (1980-1986), Marueen E. Finnerty (Acting Superintendent, 1986), Michael V. Finley (1986-1989), Robert L. Arnberger (Acting Superintendent, 1989), Robert S. Chandler (1989-1992), Dick Ring (1992-2000), Marueen E. Finnerty (2000-2003), Dan Kimball (2004-2014), Shawn Benge (Acting Superintendent, 2014), Bob Krumenaker (Acting Superintendent, 2014-2015), and finally Pedro Ramos, who was appointed in 2015 and continues to serve.
The park was placed into Administrative Region I in 1937, when the regions were first established. Region I was retitled the Southeast Region in 1962, which was restructured into the Southeast Area in 1995. The reorganized unified Interior regions put it in the new Region 2.
The busiest season for visitors is from December to March, when temperatures are lowest and mosquitoes are least active. The park features five visitor centers: on the Tamiami Trail (part of U.S. Route 41) directly west of Miami is the Shark Valley Visitor Center. A fifteen-mile (24 km) round trip path leads from this center to a two-story observation tower. Tram tours are available during the busy season. Closest to Homestead on State Road 9336 is the Ernest F. Coe Visitor Center, where a 38-mile (61 km) road begins, winding through pine rockland, cypress, freshwater marl prairie, coastal prairie, and mangrove ecosystems. Various hiking trails are accessible from the road, which runs to the Flamingo Visitor Center and marina, open and staffed during the busier time of the year. The Gulf Coast Visitor Center is closest to Everglades City on State Road 29 along the west coast. The Gulf Coast Visitor Center gives canoers access to the Wilderness Waterway, a 99-mile (160 km) canoe trail that extends to the Flamingo Visitor Center. The former Royal Palm State Park was the site of the first Everglades National Park visitor center and later became the Royal Palm Visitor Center within the park. The western coast of the park and the Ten Thousand Islands and the various key islands in Florida Bay are accessible only by boat.
Several walking trails in the park vary in hiking difficulty on Pine Island, where visitors can cross hardwood hammocks, pinelands, and freshwater sloughs. Starting at the Royal Palm Visitor Center, the Anhinga Trail is a half-mile self-guided tour through a sawgrass marsh where visitors can see alligators, marsh and wading birds, turtles, and bromeliads. Its proximity to Homestead and its accessibility make it one of the most visited sites in the park. The nearby Gumbo Limbo Trail is also self-guided, at half-mile long. It loops through a canopy of hardwood hammocks that include gumbo limbo (Bursera simaruba), royal palms (Roystonea), strangler figs (Ficus aurea), and a variety of epiphytes.
Twenty-eight miles (45 km) of trails start near the Long Pine Key campgrounds and wind through Long Pine Key, well-suited for offroad cycling through the pine rocklands in the Marjory Stoneman Douglas Wilderness Area. Two boardwalks allow visitors to walk through a cypress forest at Pa-Hay-O-Kee, which also features a two-story overlook, and another at Mahogany Hammock (referring to Swietenia mahagoni) that takes hikers through a dense forest in the middle of a freshwater marl prairie. Closer to Flamingo, more rugged trails take visitors through mangrove swamps, along Florida Bay. Christian Point Trail, Snake Bight Trail, Rowdy Bend Trail and Coastal Prairie Trail allow viewing of shorebirds and wading birds among the mangroves. Portions of the trails may be impassable depending on the time of year, because of mosquitoes and water levels. Ranger-led tours take place in the busier season only.
Camping is available year-round in Everglades National Park. Camping with some services is available at Long Pine Key, close to the Ernest F. Coe Visitor Center, where 108 sites are accessible by car. Near Flamingo, 234 campsites with some services are also available. Recreational vehicle camping is available at these sites, but not with all necessary services. Back-country permits are required for campsites along the Wilderness Waterway, Gulf Coast sites, and sites in the various keys. Several back-country sites are chickees; others are beach and ground sites.
Low-powered motorboats are allowed in the park; the majority of salt water areas are no-wake zones to protect manatees and other marine animals from harm. Jet skis, airboats, and other motorized personal watercraft are prohibited. Many trails allow kayaks and canoes. A state license is required for fishing. Fresh water licenses are not sold in the park, but a salt water license may be available. Swimming is not recommended within the park boundaries; water moccasins, snapping turtles (Chelydra serpentina), alligators, and crocodiles thrive in fresh water. Sharks, barracuda, and sharp dangerous coral are plentiful in salt water. Visibility is low in both salt water and fresh water areas.
Everglades National Park is an important part of the Great Florida Birding Trail. It has great biodiversity and many species of birds for bird watching and bird photography also.
Portions of Everglades National Park are ideal for dark sky observations in South Florida. The best viewing locations are in the remote southern and western areas of the Everglades, such as Flamingo and the Ten Thousand Islands. The Milky Way appears brightest when looking south, toward the least light-polluted areas.
Less than 50 percent of the Everglades which existed prior to drainage attempts remains intact today. Populations of wading birds dwindled 90 percent from their original numbers between the 1940s and 2000s. The diversion of water to South Florida's still-growing metropolitan areas is the Everglades National Park's number one threat. In the 1950s and 1960s, 1,400 miles (2,300 km) of canals and levees, 150 gates and spillways, and 16 pumping stations were constructed to direct water toward cities and away from the Everglades. Low levels of water leave fish vulnerable to reptiles and birds, and as sawgrass dries it can burn or die off, which in turn kills apple snails and other animals that wading birds feed upon. Populations of birds fluctuate; in 2009, the South Florida Water Management District claimed wading birds across South Florida increased by 335 percent. Following three years of increasing numbers, The Miami Herald reported in 2009 that populations of wading birds within the park decreased by 29 percent.
Cities along the west coast of Florida rely on desalinization for fresh water; the quantity demanded is too great for the land to provide. Nitrates in the underground water system and high levels of mercury also impact the quality of fresh water the park receives. In 1998, a Florida panther was found dead in Shark Water Slough, with levels of mercury high enough to kill a human. Increased occurrences of algal blooms and red tide in Biscayne Bay and Florida Bay have been traced to the amounts of controlled water released from Lake Okeechobee. The brochure given to visitors at Everglades National Park includes a statement that reads, "Freshwater flowing into the park is engineered. With the help of pumps, floodgates, and retention ponds along the park's boundary, the Everglades is presently on life support, alive but diminished."
A series of levees on the park's eastern border marks the line between urban and protected areas, but development into these areas threatens the park system. Florida still attracts nearly a thousand new residents every day,[119] and building residential, commercial and industrial zones near Everglades National Park stresses the water balance and ecosystems within the park. On the park's western border, Fort Myers, Naples, and Cape Coral are expanding, but no system of levees exists to mark that border. National Geographic rated both Everglades National Park and Big Cypress National Preserve the lowest-scoring parks in North America, at 32 out of 100. Their scoring system rated 55 parks by their sustainable tourism, destination quality, and park management. The experts who compiled the results justified the score by stating: "Encroachment by housing and retail development has thrown the precious ecosystem into a tailspin, and if humankind doesn't back off, there will be nothing left of one of this country's most amazing treasures".
Thirty-six federally protected animals live in the park, some of which face grave threats to their survival.
In the United States, the American crocodile's only habitat is within South Florida. They were once overhunted for their hides. They are protected today from hunting but are still threatened by habitat destruction and injury from vehicle collisions when crossing roads to reach waterways. About 2,000 crocodiles live in Florida, and there are roughly 100 nests in the Everglades and Biscayne National Parks. Crocodiles populations in South Florida have increased as has the number of alligators. Crocodiles were reclassified from "endangered" to "threatened" in the United States in 2007.
The Florida panther is one of the most endangered mammals on earth. About 230 live in the wild, primarily in the Everglades and the Big Cypress Swamp. The biggest threats to the panther include habitat destruction from human development, vehicle collisions, inbreeding due to their limited gene pool, parasites, diseases, and mercury poisoning.
Four Everglade species of sea turtle including the Atlantic green sea turtle, the Atlantic hawksbill, the Atlantic loggerhead (Caretta caretta), and the Atlantic ridley (Lepidochelys kempii) are endangered. Also, the leatherback sea turtle (Dermochelys coriacea) is threatened. Numbers are difficult to determine, since males and juveniles do not return to their birthplace; females lay eggs in the same location every year. Habitat loss, illegal poaching, and destructive fishing practices are the biggest threats to these animals.
The range of the Cape Sable seaside sparrow is restricted to Everglades National Park and the Big Cypress Swamp. In 1981 6,656 Cape Sable seaside sparrows were reported in park boundaries, but surveys over 10 years documented a decline to an estimated 2,624 birds by 2002. Attempts to return natural levels of water to the park have been controversial; Cape Sable seaside sparrows nest about a foot off the ground, and rising water levels may harm future populations, as well as threaten the locally endangered snail kite. The Everglades snail kite eats apple snails almost exclusively, and the Everglades is the only location in the United States where this bird of prey exists. There is some evidence that the population may be increasing, but the loss of habitat and food sources keep the estimated number of these birds at several hundred.
The West Indian manatee has been upgraded from endangered to threatened. Collisions with boats and habitat loss are still its biggest threats.
Fire naturally occurs after lightning storms but takes its heaviest toll when water levels are low. Hardwood hammock and cypress trees are susceptible to heavy damage from fire, and some may take decades to grow back. Peat built up over centuries in the marsh can cause fires to burn deep scars in the soil. In 2007, Fred Sklar of the South Florida Water Management District said: "An extreme drought can be viewed (as) almost as catastrophic as a volcano. It can reshape the entire landscape. It can take 1,000 years to produce two inches of peat, and you can lose those couple of inches in a week."
Rising sea levels caused by global warming are another threat to the future of the park. Since 1932, ocean levels at Key West have steadily risen over 0.7 feet (0.2 m), which could have disastrous consequences for land so close to the ocean. It is estimated that within 500 years freshwater habitats in the Everglades National Park will be obliterated by salt water, leaving only the northernmost portion of the Everglades. Cost estimates for raising or replacing the Tamiami Trail and Alligator Alley with bridges are in the hundreds of millions of dollars.
Through Trump Administration, The Florida Department of Transportation, and Everglades National Park, there are plans to execute and complete the Next Steps project to help fix these various water issues, along with other parts of the park. This completion plan was announced in September 2020, will begin November 2020, and should be done by the end of 2024.
The introduction of non-native species into South Florida is a considerable problem for the park. Many of the biological controls such as weather, disease, and consumers who naturally limit plants in their native environments do not exist in the Everglades, causing many to grow larger and multiply far beyond their average numbers in their native habitats. Approximately 26 percent of all fish, reptiles, birds, and mammal species in South Florida are exotic—more than in any other part of the U.S.—and the region hosts one of the highest numbers of exotic plant species in the world.
Species that adapt the most aggressively to conditions in the Everglades, by spreading quickly or competing with native species that sometimes are threatened or endangered, are called "invasive". Thousands of exotic plant species have been observed in South Florida, usually introduced as ornamental landscaping, but park staff must eradicate such invasive plants as melaleuca tree (Melaleuca quinquenervia), Brazilian pepper (Schinus terebinthifolius), and Old World climbing fern (Lygodium microphyllum). Similarly, animals often do not find the predators or natural barriers to reproduction in the Everglades as they do where they originate, thus they often reproduce more quickly and efficiently. Lobate lac scale insects (Paratachardina pseudolobata) kill shrubs and other plants in hardwood hammocks. Bromeliad beetles (Metamasius callizona) destroy bromeliads and the ecosystems they host.
Walking catfish (Clarias batrachus) can deplete aquaculture stocks and they carry enteric septicemia. The Florida Fish and Wildlife Conservation Commission (FWC) listed eight "Reptiles of Concern", including the Burmese python (Python molurus bivittatus), focusing on them for their large sizes and aggressive natures, allowing licensed hunters to kill any listed animals in protected areas and sell their meat and hides. Burmese pythons, two subspecies of African rock pythons (Python sebae; northern and southern), and yellow anacondas (Eunectes notaeus) were banned from import into the U.S. in 2012. United States Secretary of the Interior Ken Salazar announced the inclusion of these reptiles at Everglades National Park. Exotic species control falls under the management of the U.S. Fish and Wildlife Service, which has been compiling and disseminating information about invasive species since 1994. Control of invasive species costs $500 million per year, but 1,700,000 acres (2,656.2 sq mi; 6,879.7 km2) of land in South Florida remains infested.
Nicollette Sheridan
The New Chanel Boutique Opening and Charity Event,hosted by SIMPLY CONSISTENT INC.
www.simplyconsistent.com/management
"-Chanel Boutique."
"-Kathleen Checki."
"-Checki."
"-Simply Consistent."
"-Simply Consistent Management."
"-Simply Consistent Charity Event."
"-Kathleen Checki Charity Event."
"-Kathleen Check."
"-Nicollette Sheridan."
Everything was meticulously thought through and consistent, including the jet black and steel notice boards. All slowly fading away.
A tribute to the Werdmuller Center on Main Road, Claremont, designed by Roelof Uytenbogaardt and completed in 1974. Uytenbogaardt was an award-winning architect and professor of urban and regional planning based at the University of Cape Town in the 1970s. Another incredible building he designed is the Sports Complex that stands at the entrance of UCT, completed in 1981. My dad worked at this center in the 1980's and I spent a lot of time exploring the building as a child. The center (owned by Old Mutual) is due to be demolished as the land that it occupies (erf 54472, in the middle of Claremont) is worth more than its current letting value. DHK Architects have been appointed to the project. Many deem the center as a national heritage site and have planned proposals to save the building. The site is still accessible and we managed to shoot some pics after negotiations with security guards. The abandoned upper levels have been fenced off and can only be accessed with permission from Old Mutual. We found the building squalid and neglected, although people still use the ramps and passages to access the Main Road, as was originally intended. Some popular long-term residents at the center are Paul Bothner Music, the Cafda Bookshop and Radio CCFM.
More information can be found here and here. A PDF file of the proposed re-development.
Stair detail
The University of Aarhus, which dates from 1931, is a unique and coherent university campus with consistent architecture, homogenous use of yellow brickwork and adaptation to the landscape. The university has won renown and praise as an integrated complex which unites the best aspects of functionalism with solid Danish traditions in form and materials.
The competition for the university was won by the architects Kay Fisker, C. F. Møller og Povl Stegmann in 1931. Stegman left the partnership in 1937, Fisker in 1942 and C. F. Møller Architects has been in charge of the continued architectural development and building design of the university until today.
The University of Aarhus, with its extensive park in central Aarhus, includes teaching rooms, offices, libraries, workshops and student accommodation. The university has a distinct homogeneous building style and utilises the natural contours of the landscape. The campus has emerged around a distinct moraine gorge and the buildings for the departments and faculties are placed on the slopes, from the main buildings alongside the ring road to the center of the city at Nørreport. All throughout the campus, the buildings are variations of the same clear-cut prismatic volume with pitched roofs, oriented orthogonally to form individual architectural clusters sharing the same vocabulary. The way the buildings emerge from the landscape makes them seem to grow from it, rather than being superimposed on the site.
The original scheme for the campus park was made by the famous Danish landscape architect C. Th. Sørensen. Until the death of C. Th. Sørensens in 1979 the development of the park areas were conducted in a close cooperation between C. Th. Sørensen, C. F. Møller and the local park authorities. Since 1979 C. F. Møller Architects - in cooperation with the staff at the university - has continued the intentions of the original scheme for the park, and today the park is a beautiful, green area and an immense contribution to both the university and the city in general.
In 2001, C. F. Møller Architects prepared a new masterplan for the long and short term development of the university. Although the university has been extended continuously for more than 75 years, the original masterplan and design principles have been maintained, and have proven a simple yet versatile tool to create a timeless and coherent architectural expression adaptable to changing programs. Today, the university is officially recognized as a Danish national architectural treasure and is internationally renowned as an excellent example of early modern university campus planning.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Installing the AirField System results in a more stable surface area and a more consistent GMAX across the project.
AirDrain's delivers a 14.7% on cement and a 19% reduction on an aggregate base in GMAX. And that reduction and consistency will stay for the life of the field with AirDrain .
AirDrain all but eliminates infill migration and a floating field, brings a consistent GMAX across the entire field. (which can drastically affect the safety of the project putting owners in an extreme liability risk scenario)
AirDrain Drainage ASTM D 4716 Synthetic Grass and Natural Grass Testing
What drains better than air!
Does your field float or have ponding or infill migration (which is an extreme player safety and owner liability issue) and you can’t figure out why, maybe because they said it would drain X amount per hour and in reality it doesn’t and never will.
Those issues don’t get better they get worse! Countless hours in maintenance and grooming, adding materials etc. etc. what’s the cost of that every month?
Over the years, many architects and engineers have asked us just how fast will the AirDrain grid drain. Our reply has always been that the AirDrain is only limited by what is above it and the exit drains.
Due to the fact that the area of an AirDrain part is 1” inch high and has a 92% air void.
Recently, our AirDrain grid was tested using the ASTM D 4716 Hydraulic Transmissivity Standard Test Method. The testing was done using plates on top and bottom of the AirDrain part, setting them to the required slope and adding water from one end down the slope.
AirDrain was draining so fast they had to modify their testing equipment to accommodate the volume of water AirDrain could move.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
On June 15, history was made at the Smithsonian’s National Zoo’s when its 50th kori bustard chick (Ardeotis kori) emerged from its shell. The Zoo has bred kori bustards consistently since 1997, when it became the fourth zoo in the world to hatch them. Many offspring have subsequently bred at other North American zoos.
“While each hatching is special and rewarding, this chick is a little more special than the others,” said Sara Hallager, Zoo biologist and head of the Association of Zoos and Aquariums’ Species Survival Plan for kori bustards. The SSP matches animals across the country to ensure genetic diversity in the population. “We've reached an important milestone, and I’m thrilled that the National Zoo continues to play a significant role in ensuring this species’ survival in zoos and in the wild.”
In addition to the propagation, breeding and management that takes place at the National Zoo, the kori bustard team, led by Hallager, is actively involved in in situ assessments of the species. In 2009, Zoo staff conducted a study of the health, nutrition, and feeding ecology of wild kori bustards in Kenya by capturing birds and collecting blood samples. They also trained Kenyan ornithologists in capture-and-sample-collection techniques.
Although the International Union for Conservation of Nature lists kori bustards as a species of least concern, conservationists believe that populations are declining in their native habitat in eastern and southern Africa due to habitat destruction, illegal hunting and their inherent slow reproduction rate. Weighing in at 40 pounds, male kori bustards are the world’s heaviest flying birds.
Bird House staff are hand-rearing the 50th kori chick, just as they did with its predecessors. This increases the likelihood that the chick will breed successfully once it reaches sexual maturity. Hand-rearing has another benefit; several wild birds of prey reside on Zoo grounds, and raising the chicks in human care eliminates the chance of an attack. Although the chick will not be on exhibit until mid-August, Zoo visitors can see its parents at the kori bustard exhibit, located outside of the Bird House.
Credit: Photo by Mehgan Murphy, Smithsonian’s National Zoo.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Shuhada' Sadaqat[8][a] (born Sinéad Marie Bernadette O'Connor; 8 December 1966 – July 2023), known professionally as Sinéad O'Connor,[9][b] was an Irish singer, songwriter and political activist. Her debut studio album, The Lion and the Cobra, was released in 1987 and charted internationally. Her second studio album, I Do Not Want What I Haven't Got (1990), became her biggest success, selling over seven million copies worldwide.[11] Its lead single, "Nothing Compares 2 U", was named the number-one world single in 1990 by the Billboard Music Awards.[12]
O'Connor released ten studio albums. Am I Not Your Girl? (1992) and Universal Mother (1994) were certified gold in the UK,[13] Faith and Courage (2000) was certified gold in Australia,[14] and Throw Down Your Arms (2005) went gold in Ireland.[15] Her work included songs for films, collaborations with many other artists, and appearances at charity fundraising concerts. Her 2021 memoir Rememberings was a bestseller.[16]
In 1999, O'Connor was ordained as a priest by the Irish Orthodox Catholic and Apostolic Church, an Independent Catholic sect that is not recognised by the Roman Catholic Church.[17] She consistently spoke out on issues related to child abuse (including her 1992 Saturday Night Live protest against the continued cover-up of Catholic Church sexual abuse cases), human rights, racism, organised religion, and women's rights. Throughout her music career, she spoke about her spiritual journey, activism, socio-political views, as well as her trauma and mental health struggles. In 2017, O'Connor changed her name to Magda Davitt. After converting to Islam in 2018 she changed it to Shuhada' Sadaqat,[2][8][18] but continued to record and perform under her birth name.[
O'Connor was born Sinéad Marie Bernadette O'Connor[20] in the Cascia House Nursing Home at 13 Pembroke Road, Dublin, on 8 December 1966.[2] She was named Sinéad after Sinéad de Valera, the mother of the doctor presiding over the delivery, Éamon de Valera, Jnr., and Bernadette in honour of Saint Bernadette of Lourdes.[21][22] She was the third of five children;[23] her siblings are novelist Joseph,[24] Eimear,[25] John,[26] and Eoin.[27]
Her parents are John Oliver "Seán" O'Connor, a structural engineer later turned barrister[23] and chairperson of the Divorce Action Group,[28] and Johanna Marie O'Grady (1939–1985), who married in the Church of Our Lady of Good Counsel, Drimnagh, Dublin, in 1960. She attended Dominican College Sion Hill school in Blackrock, County Dublin.[29]
In 1979, O'Connor left her mother and went to live with her father, who had married Viola Margaret Suiter (née Cook) in Alexandria, Virginia, United States, in 1976.[30] At the age of 15, her shoplifting and truancy led to her being placed for 18 months in a Magdalene asylum called the Grianán Training Centre in Drumcondra run by the Order of Our Lady of Charity.[31] In some ways, she thrived there, especially in the development of her writing and music, but she also chafed under the imposed conformity. Unruly students there were sometimes sent to sleep in the adjoining nursing home, an experience of which she later commented, "I have never—and probably will never—experience such panic and terror and agony over anything."[32] She later for a period attended the Quaker Newtown School, Waterford for 5th and 6th year but did not sit the Leaving Certificate in 1985.[33][34]
On 10 February 1985, when O'Connor was 18, her mother Marie died in a car accident, aged 45, after losing control of her car on an icy road in Ballybrack and crashing into a bus.[35][36]
In June 1993, O'Connor wrote a public letter in The Irish Times which asked people to "stop hurting" her: "If only I can fight off the voices of my parents / and gather a sense of self-esteem / Then I'll be able to REALLY sing ..." The letter repeated accusations of abuse by her parents as a child which O'Connor had made in interviews. Her brother Joseph defended their father to the newspaper but agreed regarding their mother's "extreme and violent abuse, both emotional and physical". O'Connor said that month, "Our family is very messed up. We can't communicate with each other. We are all in agony. I for one am in agony."[37]
Musical career 1980s
One of the volunteers at Grianán was the sister of Paul Byrne, drummer for the band In Tua Nua, who heard O'Connor singing "Evergreen" by Barbra Streisand. She recorded a song with them called "Take My Hand" but they felt that at 15, she was too young to join the band.[38] Through an ad she placed in Hot Press in mid-1984, she met Colm Farrelly. Together they recruited a few other members and formed a band called Ton Ton Macoute.[22] The band moved to Waterford briefly while O'Connor attended Newtown School, but she soon dropped out of school and followed them to Dublin, where their performances received positive reviews. Their sound was inspired by Farrelly's interest in world music, though most observers thought O'Connor's singing and stage presence were the band's strongest features.[22][39]
O'Connor's time as singer for Ton Ton Macoute brought her to the attention of the music industry, and she was eventually signed by Ensign Records. She also acquired an experienced manager, Fachtna Ó Ceallaigh, former head of U2's Mother Records. Soon after she was signed, she embarked on her first major assignment, providing the vocals for the song "Heroine", which she co-wrote with U2's guitarist the Edge for the soundtrack to the film Captive. Ó Ceallaigh, who had been fired by U2 for complaining about them in an interview, was outspoken with his views on music and politics, and O'Connor adopted the same habits; she defended the actions of the Provisional IRA and said U2's music was "bombastic".[2] She later retracted her IRA comments saying they were based on nonsense, and that she was "too young to understand the tense situation in Northern Ireland properly".[40]
Her first album The Lion and the Cobra was "a sensation" when it was released in 1987 on Chrysalis Records,[41] and it reached gold record status, earning a Best Female Rock Vocal Performance Grammy nomination. The single "Mandinka" was a big college radio hit in the United States, and "I Want Your (Hands on Me)" received both college and urban play in a remixed form that featured rapper MC Lyte. In her first U.S. network television appearance, O'Connor sang "Mandinka" on Late Night with David Letterman in 1988.[42] The song "Troy" was also released as a single in the UK, Ireland, and the Netherlands, where it reached number 5 on the Dutch Top 40 chart.[43]
O'Connor named Bob Dylan, David Bowie, Bob Marley, Siouxsie and the Banshees, and the Pretenders as the artists who influenced her on her debut album.[44] In 1989 O'Connor joined The The frontman Matt Johnson as a guest vocalist on the band's album Mind Bomb, which spawned the duet "Kingdom of Rain".[45] That same year, she made her first foray into cinema, starring in and writing the music for the Northern Irish film Hush-a-Bye-Baby.[46]
1990s
O'Connor's second album – 1990's I Do Not Want What I Haven't Got – gained considerable attention and mostly positive reviews:[47] it was rated "second best album of the year" by the NME.[48] She was praised for her voice and original songs, while being noted for her appearance: trademark shaved head, often angry expression, and sometimes shapeless or unusual clothing.[47] The album featured Marco Pirroni (of Adam and the Ants fame), Andy Rourke (from The Smiths) and John Reynolds, her first husband;[49] most notably, it contained her international breakthrough hit "Nothing Compares 2 U", a song written by Prince[50][51] and originally recorded and released by a side project of his, the Family.[51] Hank Shocklee, producer for Public Enemy, remixed the album's next single, "The Emperor's New Clothes",[49] for a 12-inch that was coupled with another song from the LP, "I Am Stretched on Your Grave". Pre-dating but included on I Do Not Want What I Haven't Got, was "Jump in the River", which originally appeared on the Married to the Mob soundtrack; the 12-inch version of the single had included a remix featuring performance artist Karen Finley.[52][53]
In July 1990, she joined other guests for former Pink Floyd member Roger Waters' performance of The Wall in Berlin.[54] She contributed a cover of "You Do Something to Me" to the Cole Porter tribute/AIDS fundraising album Red Hot + Blue produced by the Red Hot Organization.[55] Red Hot + Blue was followed by the release of Am I Not Your Girl?, an album made of covers of jazz standards and torch songs she had listened to while growing up; the album received mixed-to-poor reviews, and was a commercial disappointment in light of the success of her previous work.[56] Her take on Elton John's "Sacrifice" was acclaimed as one of the best efforts on the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin.[57]
Also in 1990, she was criticised after she stated that she would not perform if the United States national anthem was played before one of her concerts; Frank Sinatra threatened to "kick her in the ass".[58] After receiving four Grammy Award nominations, she withdrew her name from consideration.[2] Although nominated for the Brit Award for International Female Solo Artist, which she won, she did not attend the awards ceremony, but did accept the Irish IRMA in February 1991.[59]
I don't do anything in order to cause trouble. It just so happens that what I do naturally causes trouble. I'm proud to be a troublemaker.
—O'Connor in NME, March 1991[60]
She spent the following months studying bel canto singing with teacher Frank Merriman at the Parnell School of Music. In an interview with The Guardian, published in May 1993, she reported that singing lessons with Merriman were the only therapy she was receiving, describing Merriman as "the most amazing teacher in the universe."[61]
In 1992, she contributed backing vocals on the track "Come Talk To Me", and shared vocals on the single "Blood of Eden" from the studio album Us by Peter Gabriel. Gabriel invited her to join his ongoing Secret World Tour in May 1993, to sing these songs and more in an elaborate stage setting. O'Connor travelled and performed as a guest artist.[62] She was seen at Gabriel's side at the 1993 MTV Video Music Awards in September. While in Los Angeles, she took too many sleeping pills, inciting media conjecture about a suicide attempt. She said she "was in a bad way emotionally at the time, but it wasn't a suicide attempt."[63] She left the tour suddenly, causing Gabriel to scramble for a replacement singer.[62] Decades later, she wrote in her memoir Rememberings that she left Gabriel because he treated her casually, and would not make a commitment.[6]
The 1993 soundtrack to the film In the Name of the Father featured O'Connor's "You Made Me the Thief of Your Heart".[49] Her more conventional Universal Mother album (1994) spawned two music videos for the first and second singles, "Fire on Babylon" and "Famine", that were nominated for a Grammy Award for Best Short Form Music Video.[64][65] She toured with Lollapalooza in 1995, but dropped out when she became pregnant with her second child.[66] In 1997, she released the Gospel Oak EP.[67]
In 1994, she appeared in A Celebration: The Music of Pete Townshend and The Who,[68] also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey of the Who in celebration of his 50th birthday.[69] A CD and a VHS video of the concert were issued in 1994, followed by a DVD in 1998.[70][71]
In 1996, O'Connor guested on Broken China, a solo album by Pink Floyd's Richard Wright.[72]
O'Connor made her final feature film appearance in Neil Jordan's The Butcher Boy in 1997, playing the Virgin Mary.[73]
In 1998, she worked again with the Red Hot Organization to co-produce and perform on Red Hot + Rhapsody.[74]
2000s
O'Connor at the "Music in My Head" festival in The Hague, 13 June 2008
Faith and Courage was released in 2000, including the single "No Man's Woman", and featured contributions from Wyclef Jean of the Fugees and Dave Stewart of Eurythmics.[75]
Her 2002 album, Sean-Nós Nua, marked a departure in that O'Connor interpreted or, in her own words, "sexed up" traditional Irish folk songs, including several in the Irish language.[76] In Sean-Nós Nua, she covered a well-known Canadian folk song, "Peggy Gordon".[77]
In 2003, she contributed a track to the Dolly Parton tribute album Just Because I'm a Woman, a cover of Parton's "Dagger Through the Heart". That same year, she also featured on three songs of Massive Attack's album 100th Window before releasing her double album, She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty. This compilation contained one disc of demos and previously unreleased tracks and one disc of a live concert recording. Directly after the album's release, O'Connor announced that she was retiring from music.[78] Collaborations, a compilation album of guest appearances, was released in 2005—featuring tracks recorded with Peter Gabriel, Massive Attack, Jah Wobble, Terry Hall, Moby, Bomb the Bass, the Edge, U2, and The The.[79]
Ultimately, after a brief period of inactivity and a bout with fibromyalgia, her retirement proved to be short-lived. O'Connor stated in an interview with Harp magazine that she had only intended to retire from making mainstream pop/rock music, and after dealing with her fibromyalgia she chose to move into other musical styles.[80] The reggae album Throw Down Your Arms appeared in late 2005.[81]
On 8 November 2006, O'Connor performed seven songs from her upcoming album Theology at The Sugar Club in Dublin. Thirty fans were given the opportunity to win pairs of tickets to attend along with music industry critics.[82] The performance was released in 2008 as Live at the Sugar Club deluxe CD/DVD package sold exclusively on her website.[83]
O'Connor released two songs from her album Theology to download for free from her official website: "If You Had a Vineyard" and "Jeremiah (Something Beautiful)". The album, a collection of covered and original Rastafari spiritual songs, was released in June 2007. The first single from the album, the Tim Rice and Andrew Lloyd Webber classic "I Don't Know How to Love Him", was released on 30 April 2007.[84] To promote the album, O'Connor toured extensively in Europe and North America. She also appeared on two tracks of the new Ian Brown album The World Is Yours, including the anti-war single "Illegal Attacks".[85]
2010s
In January 2010, O'Connor performed a duet with R&B singer Mary J. Blige produced by former A Tribe Called Quest member Ali Shaheed Muhammad of O'Connor's song "This Is To Mother You" (first recorded by O'Connor on her 1997 Gospel Oak EP). The proceeds of the song's sales were donated to the organisation GEMS (Girls Educational and Mentoring Services).[86] In 2012 the song "Lay Your Head Down", written by Brian Byrne and Glenn Close for the soundtrack of the film Albert Nobbs and performed by O'Connor, was nominated for a Golden Globe Award for Best Original Song.[87]
O'Connor performing in 2013
In 2011, O'Connor worked on recording a new album, titled Home, to be released in the beginning of 2012,[88] titled How About I Be Me (and You Be You)?,[89][90] with the first single being "The Wolf is Getting Married". She planned an extensive tour in support of the album but suffered a serious breakdown between December 2011 and March 2012,[91] resulting in the tour and all other musical activities for the rest of 2012 being cancelled. O'Connor resumed touring in 2013 with The Crazy Baldhead Tour. The second single "4th and Vine" was released on 18 February 2013.[92]
In February 2014, it was revealed that O'Connor had been recording a new album of original material, titled The Vishnu Room, consisting of romantic love songs.[93] In early June 2014, the new album was retitled I'm Not Bossy, I'm the Boss, with an 11 August release date. The title derives from the Ban Bossy campaign that took place earlier the same year. The album's first single is entitled "Take Me to Church".[94][95]
In November 2014, O'Connor's management was taken over by Simon Napier-Bell and Björn de Water.[96] On 15 November, O'Connor joined the charity supergroup Band Aid 30 along with other British and Irish pop acts, recording a new version of the track "Do They Know It's Christmas?" at Sarm West Studios in Notting Hill, London, to raise money for the West African Ebola virus epidemic.[97]
In September 2019, O'Connor performed live for the first time in five years, singing "Nothing Compares 2 U" with the Irish Chamber Orchestra on RTÉ's The Late Late Show.[98][99]
2020s
In October 2020, O'Connor released a cover of Mahalia Jackson's Trouble of the World, with proceeds from the single to benefit Black Lives Matter charities.[100]
On 4 June 2021, O'Connor announced her immediate retirement from the music industry. While her final studio album, No Veteran Dies Alone, was due to be released in 2022, O'Connor stated that she would not be touring or promoting it.[101] Announcing the news on Twitter, she said "This is to announce my retirement from touring and from working in the record business. I've gotten older and I'm tired. So it's time for me to hang up my nipple tassels, having truly given my all. NVDA in 2022 will be my last release. And there'll be no more touring or promo."[101][102] On 7 June she retracted her previous statement, describing the original announcement as "a knee-jerk reaction" to an insensitive interview, and announcing that she would go ahead with her already scheduled 2022 tour.[103]
On 1 June 2021, O'Connor's memoir Rememberings was released to positive critical reception. It was listed among the best books of the year on BBC Culture.[104]
On 7 January 2022, O'Connor's son, Shane, died by suicide at the age of 17.[42] She subsequently decided to cancel her 2022 tour and her album No Veteran Dies Alone was postponed indefinitely.[105]
In February 2023, she shared a new version of "The Skye Boat Song", a 19th century Scottish adaptation of a 1782 Gaelic song, which is also the theme for the fantasy drama series Outlander.[106] The following month, she was awarded the inaugural Choice Music Prize Classic Irish Album by Irish broadcaster RTÉ for her 1990 album, I Do Not Want What I Haven't Got.[107][108]
Name
In 2017, O'Connor changed her legal name to Magda Davitt, saying in an interview that she wished to be "free of the patriarchal slave names. Free of the parental curses."[113][114] On her conversion to Islam in October 2018, she adopted the name 'Shuhada', and before mid-2019 also changed her surname from Davitt to Sadaqat.[115]
Personal and public image
Her shaved head has been seen as a statement against traditional views of femininity.[116]
Marriages and children
O'Connor had four children and was married and divorced four times. She had her first son, Jake, in 1987 with her first husband, music producer John Reynolds,[117] who co-produced several of her albums, including Universal Mother. Reynolds and O'Connor later married in Westminster register office in March 1989.[118][119] The same year, O'Connor had an abortion after things did not work out with the father. She later wrote the song "My Special Child" about the experience.[120] O'Connor and Reynolds announced their plan to divorce in November 1991 after being separated for some time.[121]
Soon after the birth of her daughter Brigidine Roisin Waters on 10 March 1996, O'Connor and the girl's father, Irish journalist John Waters, began a long custody battle that ended with O'Connor agreeing to let Roisin live in Dublin with Waters.[122][119][117] In August 2001, O'Connor married British journalist Nick Sommerlad in Wales; the marriage ended in July 2002 after 11 months.[123][117] She had her third child, son Shane, in 2004 with musician Donal Lunny.[117][119] In 2006, she had her fourth child, Yeshua Francis Neil Bonadio, whose father is Frank Bonadio.[124][125]
O'Connor was married a third time on 22 July 2010, to longtime friend and collaborator Steve Cooney,[4][126] and in late March 2011, made the decision to separate.[127] Her fourth marriage was to Irish therapist Barry Herridge. They wed on 9 December 2011, in Las Vegas, but their marriage ended after having "lived together for 7 days only".[128] The following week, on 3 January 2012, O'Connor issued a further string of internet comments to the effect that the couple had re-united.[5]
On 18 July 2015, her first grandson was born to her son Jake Reynolds and his girlfriend Lia.[129]
On 7 January 2022, two days after her 17-year-old son Shane was reported missing from Newbridge, County Kildare, he was found dead by suicide. His body was found by Gardaí in the Bray/Shankill part of Dublin.[130][131][132] O'Connor stated that her son, custody of whom she lost in 2013, had been on "suicide watch" at Tallaght Hospital, and had "ended his earthly struggle". O'Connor criticised the Health Service Executive (HSE) with regard to their handling of her son's case.[133][134][135] She initially criticised Ireland's family services agency, Tusla, but retracted this a few days later.[136][137] In January 2022, a week after her son's suicide, she was hospitalised on her own volition following a series of tweets in which she indicated she was going to take her own life.[138]
Relationship with Prince
Speaking about her relationship with Prince in an interview with Norwegian station NRK in November 2014 she said, "I did meet him a couple of times. We didn't get on at all. In fact we had a punch-up." She continued: "He summoned me to his house after 'Nothing Compares'. I made it without him. I'd never met him. He summoned me to his house – and it's foolish to do this to an Irish woman – he said he didn't like me saying bad words in interviews. So I told him to f*** off....He got quite violent. I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine."[139] In her 2021 memoir Rememberings, O'Connor described her meeting with Prince in detail, which ranged from having his butler serve soup repeatedly despite no desire for soup, to hitting her with a hard object placed in a pillowcase after wanting a pillow fight, and stalking her with his car after she left the mansion.[140]
Health
In the early 2000s, O'Connor revealed that she suffered from fibromyalgia. The pain and fatigue she experienced caused her to take a break from music from 2003 to 2005.[141]
On an episode of The Oprah Winfrey Show broadcast on 4 October 2007, O'Connor disclosed that she had been diagnosed with bipolar disorder four years earlier, and had attempted suicide on her 33rd birthday, 8 December 1999.[142] Then, on Oprah: Where Are They Now? of 9 February 2014, O'Connor said that she had received three "second opinions" and was told by all three that she was not bipolar.
O'Connor was also diagnosed with complex post-traumatic stress disorder and borderline personality disorder.[143]
In August 2015, she announced that she was to undergo a hysterectomy after suffering gynaecological problems for over three years.[144] O'Connor later blamed the hospital's refusal to administer hormonal replacement therapy after the operation as the main reason for her mental health issues in the subsequent years, stating "I was flung into surgical menopause. Hormones were everywhere. I became very suicidal. I was a basket case."[145]
Having smoked cannabis for 30 years, O'Connor went to a rehabilitation centre in 2016, to end her "addiction".[146] O'Connor was agoraphobic.[147]
In August 2017, O'Connor posted a 12-minute video on her Facebook page in which she stated that she had felt alone since losing custody of her 13-year-old son, Shane, and that for the prior two years she had wanted to kill herself, with only her doctor and psychiatrist "keeping her alive".[148] The month after her Facebook post, O'Connor appeared on the American television talk show Dr. Phil on the show's 16th season debut episode.[149] According to Dr. Phil, O'Connor wanted to do the interview because she wanted to "destigmatize mental illness", noting the prevalence of mental health issues among musicians.[150] Shane died in January 2022. A week later, following a series of tweets in which she indicated that she was going to kill herself, O'Connor was hospitalised.[151]
Sexuality
In a 2000 interview in Curve, O'Connor said that she was a lesbian.[152] She later retracted the statement, and in 2005 told Entertainment Weekly "I'm three-quarters heterosexual, a quarter gay".[153]
In 2013, O'Connor published an open letter on her own website to American singer and actress Miley Cyrus in which she warned Cyrus of the treatment of women in the music industry and stated that sexuality is a factor in this, which was in response to Cyrus's music video for her song "Wrecking Ball".[154] Cyrus responded by mocking O'Connor and alluding to her mental health problems.[155]
Politics
O'Connor was a vocal supporter of a united Ireland, and called on the left-wing republican Sinn Féin party to be "braver". In December 2014 it was reported O'Connor had joined Sinn Féin.[156] O'Connor called for the "demolition" of the Republic of Ireland and its replacement with a new, united country. She also called for key Sinn Féin politicians like Gerry Adams to step down because "they remind people of violence", referring to the Troubles.[157]
In a 2015 interview with the BBC, O'Connor said she wished that Ireland had remained under British rule (which ended after the Irish War of Independence, except for Northern Ireland), saying "the church took over and it was disastrous".[158] Following the Brexit referendum in 2016, O'Connor wrote on Facebook "Ireland is officially no longer owned by Britain".[159]
Religion
Sinéad O'Connor on After Dark on 21 January 1995
In January 1995, O'Connor made an unexpected appearance on the British late-night television programme After Dark during an episode about sexual abuse and the Catholic Church in Ireland.[160] The discussion included a Dominican friar and another representative of the Catholic Church, along with former taoiseach Garret FitzGerald. Host Helena Kennedy described the event: "Sinéad came on and argued that abuse in families was coded in by the church because it refused to accept the accounts of women and children."[161]
In the late 1990s, Bishop Michael Cox of the Irish Orthodox Catholic and Apostolic Church (an Independent Catholic group not in communion with the Roman Catholic Church) ordained O'Connor as a priest.[17] The Catholic Church considers the ordination of women to be invalid and asserts that a person attempting the sacrament of ordination upon a woman incurs excommunication.[17] The bishop had contacted her to offer ordination following her appearance on RTÉ's The Late Late Show, during which she told the presenter, Gay Byrne, that had she not been a singer she would have wished to have been a Catholic priest. After her ordination, she indicated that she wished to be called Mother Bernadette Mary.[17]
In a July 2007 interview with Christianity Today, O'Connor stated that she considered herself a Christian and that she believed in core Christian concepts about the Trinity and Jesus Christ. She said, "I think God saves everybody whether they want to be saved or not. So when we die, we're all going home ... I don't think God judges anybody. He loves everybody equally."[162] In an October 2002 interview, she credited her Christian faith in giving her the strength to live through and overcome the effects of her childhood abuse.[112]
On 26 March 2010, O'Connor appeared on CNN's Anderson Cooper 360° to speak out about the Catholic sexual abuse scandal in Ireland.[163] On 28 March 2010, she had an opinion piece published in the Sunday edition of The Washington Post in which she wrote about the scandal and her time in a Magdalene laundry as a teenager.[31] Writing for the Sunday Independent she labelled the Vatican as "a nest of devils" and called for the establishment of an "alternative church", opining that "Christ is being murdered by liars" in the Vatican.[164] Shortly after the election of Pope Francis, she said:[165][166]
Well, you know, I guess I wish everyone the best, and I don't know anything about the man, so I'm not going to rush to judge him on one thing or another, but I would say he has a scientifically impossible task, because all religions, but certainly the Catholic Church, is really a house built on sand, and it's drowning in a sea of conditional love, and therefore it can't survive, and actually the office of Pope itself is an anti-Christian office, the idea that Christ needs a representative is laughable and blasphemous at the same time, therefore it is a house built on sand, and we need to rescue God from religion, all religions, they've become a smokescreen that distracts people from the fact that there is a holy spirit, and when you study the Gospels you see the Christ character came to tell us that we only need to talk directly to God, we never needed Religion ...
Asked whether from her point of view, it is therefore irrelevant who is elected to be pope, O'Connor replied:
Genuinely I don't mean disrespect to Catholic people because I believe in Jesus Christ, I believe in the Holy Spirit, all of those, but I also believe in all of them, I don't think it cares if you call it Fred or Daisy, you know? Religion is a smokescreen, it has everybody talking to the wall. There is a Holy Spirit who can't intervene on our behalf unless we ask it. Religion has us talking to the wall. The Christ character tells us himself: you must only talk directly to the Father; you don't need intermediaries. We all thought we did, and that's ok, we're not bad people, but let's wake up ... God was there before religion; it's there [today] despite religion; it'll be there when religion is gone.[167]
Tatiana Kavelka wrote about O'Connor's later Christian work, describing it as "theologically charged yet unorthodox, oriented toward interfaith dialogue and those on the margins".[168]
In August 2018, via an open letter, she asked Pope Francis to excommunicate her as she had also asked Pope Benedict XVI and Pope John Paul II.[113]
In October 2018, O'Connor converted to Islam, calling it "the natural conclusion of any intelligent theologian's journey".[169] The ceremony was conducted in Ireland by Sunni Islamic theologian Shaykh Umar Al-Qadri. She also changed her name to Shuhada' Davitt. In a message on Twitter, she thanked fellow Muslims for their support and uploaded a video of herself reciting the adhan, the Islamic call to prayer. She also posted photos of herself wearing a hijab.[170]
After her conversion to Islam, O'Connor called those who were not Muslims "disgusting" and criticised Christian and Jewish theologians on Twitter in November 2018. She wrote: "What I'm about to say is something so racist I never thought my soul could ever feel it. But truly I never wanna spend time with white people again (if that's what non-muslims are called). Not for one moment, for any reason. They are disgusting."[171][172] Later that month, O'Connor stated that her remarks were made in an attempt to force Twitter to close down her account.[173] In September 2019, she apologised for the remarks, saying "They were not true at the time and they are not true now. I was triggered as a result of Islamophobia dumped on me. I apologize for hurt caused. That was one of many crazy tweets lord knows."[174]
Death
On 26 July 2023, O'Connor was found dead at her flat in Herne Hill, South London, at the age of 56 Her family issued a statement later the same day, without indicating the cause of her death.[108][177][178] The following day, the Metropolitan Police reported that O'Connor's death was not being treated as suspicious] On 28 July, the Coronor in London said that the date of death was still unknown.
Image of boats under construction on the stocks at W. Ryan & Sons shipyard beside Browns Creek, (also known as Crooked Creek) Taree NSW. Dated 1st January 1943.
The design of the two vessels pictured in the foreground is consistent with the raked bow and counter stern of the 66 ft trawler type, whereas the frames in the background appear to be of the smaller 45 ft tow boat.
It is still uncertain to the exact number of vessels that were completed by W. Ryan & Sons Shipyard, and how many orders were cancelled. (A figure of 16 boats over two years has been documented.)
Location
The portion of land used for the shipyard, was situated in the vicinity between the end of Stevenson Lane and the banks of Browns Creek. (also known as Crooked Creek)
Now known as Muscio Park.
Latitude: -31°53'54.6" S
Longitude: 152°28'4.43" E
Launch
After the vessels were launched, the hulls were then towed out of the creek into the Manning River and upstream to the North Coast Steam Navigation Company wharf.
The engines, machinery and metal work were installed by Mr Hector Haden’s engineer's, whilst Mr .A. Butterworth was in charge of fitting the electrical systems.
A team of carpenters added the superstructure and finished off the craft before they were test run on the river, and handed over for service.
WWII Construction of Vessels in Australia
A program for Australian construction was set up to supply craft for the U.S. Army, Australian Army, & the Royal Navy, through the Australian Shipbuilding Board, who distributed the orders to the various shipyards.
W. Ryan & Sons, of Taree, and E. Wright of Tuncurry were just two of many shipyards contracted to under take the orders for the various classes of vessels.
Boats built by W. Ryan & Sons were fully completed and tested, whereas E. Wright's shipyard at Tuncurry, supplied the hulls only, which were towed to either Sydney or Newcastle .
45 ft Wooden Towboat (US WT Class and Aust. Army AT Class)
Details:
Length: 45 ft
Breadth: 16 ft
Depth: 6 ft 6 in (Below water line)
66 ft Seine Trawler (US TL Class and Royal Navy MFV Class)
Details:
Length: 66 ft
Breadth: 17 ft 6 in
Depth: 6 ft 6 in
References
The Northern Champion, Saturday 20th January 1945
Boat Trials at Taree
On Friday afternoon a 45ft tow boat, built for the US Army at W. Ryan and Son's Brown's Creek shipbuilding yards, was tested on the river at Taree, and within a week or so a second boat will be ready to undergo its tests. Friday's test was carried out under the supervision of Mr. Baxter, representing the Ministry for Munitions, and later the American Army authorities will make a test of the engines.
Mr. Baxter paid a tribute to the splendid workmanship of Ryan's yard, and also made mention of the efficient manner in which Mr. Hector Haden, as contractor for the engineering portion of the work, had carried out his contract.
Mr. Baxter said originally the hulls built at country yards were taken to Sydney to have the engines installed, but at Taree, and other places, the authorities had been able to organise a capable and efficient band of men, with the necessary equipment, to enable the engineering work to be attended to on the spot. These boats, which will be used for inter - island service, are fitted with diesel engines, and are designed for hard wear.
The Northern Champion 7th February 1945
TOWBOAT LEAVES TAREE WAITING FOR HARRINGTON CROSSING.
On Sunday last, one of the completed 45 ft towboats, built at W. Ryan & Sons' yards at Taree, was taken to Harrington by a crew representing the American Army. This boat recently completed her trials on the river, and is now ready to take her place in the operations in the Pacific. At Croki , J. Goodsen and Vic Shoesmith joined the boat as navigators to Harrington. However, owing to the shallow bar, the vessel will have to wait for a favourable opportunity to cross out.
The second towboat has been tested at Taree and is expected that she will go to Harrington, and that the two boats will cross out together.
The engineers and carpenters at the depot at the North Coast wharf are now busily engaged building the superstructure on one of the 66 ft boats, which will also receive its engines and other equipment at Taree.
The Northern Champion 25th February 1945.
The two launches built at Ryan's yard, at Taree, crossed out when tides were suitable. They behaved nicely crossing over the bar, bowing and dipping to the gentle waves of the Pacific. These boats reflect credit on the builders.
End of Construction in Australia
By August 1944 a total of 2,712 craft had been received from Australian construction. Orders for most types of craft had been completed, and only 499 units were still on order.
Of a total of 5,516 units originally ordered, 2,300 had been cancelled.
Decommissioned
The 45 ft tow boat had a wide variety of uses and played an important role during the conflict in the South-West Pacific.
As there were a many number of these type of vessels built that, after the war had ended , the surplus of no longer required craft were put up for tender through the Commonwealth Disposal Commission around 1946.
The robust design and sturdy construction of these little craft, were very well suited to harbour work, and soon found their way into lighterage companies around the coast.
Identified
Two of these vessels that were built by W. Ryan have been identified as the Prolific ( Ex - Terri ) and the Harport (Ex - Harlan )
It is uncertain if these two towboats were built and served under the United States Army ‘WT’ Class or the Australian Army ‘AT’ Class as no vessel identification numbers have been located to date.
Prolific (Ex –Terri)
The Terri was initially purchased by Nicholson Bros Harbour Transport Pty Ltd, Sydney, who changed her name to the Prolific.
Nicholson’s fleet was taken over by Stannard Bros Launch Services Pty Ltd. In 1968, where the Prolific continued on with harbour lighterage work.
In 1976 the Prolific was sold off to a private buyer and converted into a house boat on the Parramatta River.
After 40years of ownership to the one family the Prolific was recently sold in 2016 to undergo a new life.
Harport (Ex-Harlan)
After WWII the Harport was owned and operated in Sydney Harbour by several lighterage companies including:
- Land & Transport Co.Ltd.Sydney.
- Harbour Lighterage & Showboat Pty. Ltd.
- Harbour Lighterage Ltd.
Little is known on the Harport, other than she caught fire in 1954 on Sydney harbour, sustaining considerable damage before taken to Glebe for repairs. Reportedly in existence, at Brisbane in 2003.
Image Source : Australian War Memorial : www.awm.gov.au/collection/069761/
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flickr Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
Running consistently over hurdles on ground perhaps not quite quick enough for her and today looks an ideal opportunity to show her best form. Does like to front run so possible in this big field she could get hassled about but the ability and conditions are there. Watch My Back ran an eye catching race behind Ballabriggs recently and presumably needed the outing.
BREAKING NEWS My 513th picture to be viewed over 1,000 times (January 2016). First uploaded August 2011.
On June 15, history was made at the Smithsonian’s National Zoo’s when its 50th kori bustard chick (Ardeotis kori) emerged from its shell. The Zoo has bred kori bustards consistently since 1997, when it became the fourth zoo in the world to hatch them. Many offspring have subsequently bred at other North American zoos.
“While each hatching is special and rewarding, this chick is a little more special than the others,” said Sara Hallager, Zoo biologist and head of the Association of Zoos and Aquariums’ Species Survival Plan for kori bustards. The SSP matches animals across the country to ensure genetic diversity in the population. “We've reached an important milestone, and I’m thrilled that the National Zoo continues to play a significant role in ensuring this species’ survival in zoos and in the wild.”
In addition to the propagation, breeding and management that takes place at the National Zoo, the kori bustard team, led by Hallager, is actively involved in in situ assessments of the species. In 2009, Zoo staff conducted a study of the health, nutrition, and feeding ecology of wild kori bustards in Kenya by capturing birds and collecting blood samples. They also trained Kenyan ornithologists in capture-and-sample-collection techniques.
Although the International Union for Conservation of Nature lists kori bustards as a species of least concern, conservationists believe that populations are declining in their native habitat in eastern and southern Africa due to habitat destruction, illegal hunting and their inherent slow reproduction rate. Weighing in at 40 pounds, male kori bustards are the world’s heaviest flying birds.
Bird House staff are hand-rearing the 50th kori chick, just as they did with its predecessors. This increases the likelihood that the chick will breed successfully once it reaches sexual maturity. Hand-rearing has another benefit; several wild birds of prey reside on Zoo grounds, and raising the chicks in human care eliminates the chance of an attack. Although the chick will not be on exhibit until mid-August, Zoo visitors can see its parents at the kori bustard exhibit, located outside of the Bird House.
Credit: Photo by Mehgan Murphy, Smithsonian’s National Zoo.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
(further pictures and enormous amounts of information you can get by clicking on the link at the end of page!)
St. Stephen's Cathedral
Seat of the Archbishop (Cardinal) of Vienna, one of the most important buildings of the Central European High and Late Gothic, monumental example of the South-German-Austrian multi-naved church, landmark of Vienna. Characteristic is the independent lateral position of the towers, the inclusion of the romanesque western facade, the high Gothic hall choir and the mighty steep roof with colorful brick patterning.
History
1147
The first Romanesque church - from Passau founded (hence patron saint: saint Stephen Protomartyr) - is consecrated. It is located in a quarter of new settlements of merchants, which in the second half of the 12th Century was included in the city's fortifications (which is the part between Singerstraße and wool line (Wollzeile), the road to Hungary). It is located outside, to the southeast, of the oldest city area of the Roman fort, Vindobona. This building was in its dimensions already a large basilical complex, at its completion already including the floor plan of the Heath towers in the West.
1263
Re-consecration after the fire. The impacts on the Romanesque church are not precisely known. The huge gate was already previously rebuilt, when Vienna was for a short time residence of the emperor of the Holy Roman Empire. In succession, the reconstruction of the west gallery and the expansion of the western towers (Heath towers) took place. From this period stem also most of the sculptures of the giant gate, the vaults, capitals and rose windows at the west gallery.
Stephansdom64.jpg (35605 bytes)
1304 -1340
Construction of the Gothic hall choir, Albertinian choir, named after the Habsburg Albert II (1330-1358).
The citizenship of Vienna initially purchased the required properties and "as the owner of the Gothic choir in the Zwettler (city in Lower Austria) documents of 1303 and 1304 Viennese citizens are testified".
This civic foundation was then converted by a princely.
The following indulgence certificate - in the original written on parchment and provided with a hanging seal - is in a sense the main historical document of the choir consecration and thus also to the architectural history of St. Stephen of great importance.
1340
Bishop Peter of Marchapolis gives, at the request of the parishioners, all who attend at the anniversary of the consecration of the choir of St. Stephen's Church, which was accomplished on the above day in his presence by Bishop Albert of Passau, or at the feasts of the altar patrons of the church, an indulgence of 40 days.
1359
Laying of the foundation stone for further Gothic reconstruction of the nave (south and north wall), the Singertor and the Bischofstor (gate) and the two double chapels laterally to the Romanesque western building. Furthermore, the construction of overall four towers was planned. In fact, only the southern transept tower (the "saint Stephen's Tower") was first started.
1365
Those conversion measures are associated with the efforts of Duke Rudolf IV to raise Vienna to the status of a diocese, and with the founding of the University of Vienna.
1395
Consecration of the chapel of Saint Catherine ("baptistery") on the east side of the south tower.
1404
Peter of Prachatitz is Dombaumeister (cathedral builder). The citizenship by providing financial support pushes ahead the expansion of the tower.
1417 - 1430
Establishment of the lower sacristy
1433
Completion of the south tower under Hans von Prachatitz
1440 - 1459
Completion of the High Gothic nave
1450
Planning and construction of the North Tower by Hans Puchsbaum
1459
At Hüttentag of Regensburg the mason's lodge of St. Stephen's in Vienna is designated the leading main lodge in Central Europe.
1466
Extension of the upper sacristy
1469
Under Frederick III. the Diocese of Vienna is built.
1474
The Chapel of St. Barbara in the north tower is completed according to the plans of Puchsbaum. Formerly this building extension in the North Tower was called: Urbanuskapelle (chapel).
1511
Suspension of the building at the north tower. It is higher than the nave walls, but lower than the ridge height of the choir roof. As a crowning feature of the tower stump an octagonal structure was set up, which was closed with a so-called "Welsh hood" of Kaspar and Hans Saphoy 1578. The Welsh hood is a into the Gothic transmitted dome shape".
The back of the St. Stephen's Cathedral with the North Tower
1514/1519
1514/1519 at the top of saint Stephen's tower an eight-rayed sun ("Star") was fitted with a crescent moon as a symbol of spiritual and temporal power. When the Viennese in the Turkish siege (1529) throughout in the camp of their enemies saw similar symbols, they raised first objections against the "haidnisch Zaichen (heathen signs)", yet remained the "Moonlight" on the tower. Only on the occasion of the second siege (1683 ) vowed Leopold I to replace the "ungodly and unworthy Turks coat of arms" by the sign of the cross, when the city was liberated by God's assistance.
The from saint Stephen removed moon. Book illustration, 18th century
The new, of copper wrought double cross ("Spanish Cross") was made by coppersmith Hans Adam Bosch. It was one and a half meters high and had a weight of 45.5 kg. On September 14th, the Kreuzerhöhungstag (day of the elevation of the Cross) (in the same time the anniversary of the moving in of Leopold into the liberated city), it was placed under great spectacle. However, it was not flexible enough and already on 14th December it fell down due to a violent storm. On 31st October 1687 followed the setting up of a new crowning. To the Spanish Cross now the imperial double-headed eagle and the initials of Leopold I had been added. Cross and eagle had a height of 2.45 m and a weight of 67 kg.
St. Stephen's Cathedral around 1530
1640
Bishop Friedrich Count Breuner the Baroquisation of the equipment of the St. Stephen's Cathedral as a manifestation of the Counter-Reformation had started. He commissioned the brothers Jacob and Tobias Pock from Konstanz with the construction of a new high altar.
1683
Damages caused by numerous cannonballs at the second Turkish siege.
1700
Second wave of Baroquisation: Gothic winged altars and also their early Baroque successors are replaced by baroque marble altars.
1711
July 21st, 1711. In front of a large audience the k.k. Stückgießer (specialized iron caster) Johann Achamer carries out the casting of the great bell of saint Stephen. The for this purpose required metal comes from stocks of the Imperial arsenal of captured Turkish cannons. After Pölzung (supporting) of the underground vaults under the streets that touches the train, the bell weighing more than 17 tons on a special car or a loop of 100 people is brought from the Leopoldstadt on 29th October to the cathedral. On December 15th, Bishop Rummel undertakes the consecration of the bell, then it is pulled up to the south tower. There it rests on two oak beams, which for ringing can be screwed off. When Charles VI. solemnly moved into Vienna after his imperial coronation on 26th January 1712, the Pummerin was rung for the first time, in the process only the 813 kg in weight clapper was moved.
1720
The so-called catacombs are set up as a burial site.
1735
The cemetery around the church is closed down and in 1783 completely removed
Stock-im-Eisen-Platz and St. Stephen's Square before the demolition of the houses
Coloured engraving of V.C. Schütz. 1779
1803
The Steffl gets air: Demolition of houses on Stephansplatz
October. The strong increase in population leads to an increased volume of traffic. As part of "traffic-appropriate" measures streets are widened, squares enlarged, arcades created and traffic regulations introduced such as, e.g., the first one-way at the Carinthian gates (1802). With the demolition of the last still in front of the cathedral facade standing houses yet another basic expansion and redesign of the Stephansplatz can be completed.
1809
Also in the French wars the Cathedral is damaged by artillery fire.
1810
Repair work on the South Tower
1831
Renovation of the roof at the Albertinian choir
1842
On the occasion of the two renewals of the tower helmet in the 19th century respectively in 1842 and 1864, again a new double-headed eagle with a double cross was set on the spire. This last crowning of 1864 still today adorns the top of saint Stephen's tower.
1853 - 1854
Expansion of the remaining Wimperge (gables) in the roof area of which Puchsbaum under Frederick III. only one had realized.
1863 - 1864
Cathedral architect Friedrich Schmidt heads the restoration of the tower helmet.
1945
St. Stephen's Cathedral, April 1945 © Press Agency Votava St. Stephen's Cathedral, April 1945
The roof of St Stephen's Cathedral
is on fire 8th April 1945
Friday 13 April: Dombrand (cathedral's fire) in the last days of World War II. The roof burns down, the vaults of the middle choir and the southern side choir collapse. The Pummerin plunges down and breaks. The cathedral is badly damaged.
1945 - 1952
Reconstruction of the roof and choir
Triumphant entry of the new Pummerin in Vienna. The in St. Florian/Oberösterreich (Upper Austria) cast bell to Vienna had a true triumphal procession behind herself.
From the ruins of the Pummerin 1952 in St. Florian, Upper Austria, a new bell was cast and consecrated on 26th April 1952 in Vienna. The other bells of St. Stephen's Cathedral also consistently bore names as Halbpummerin, Viertelpummerin, Councillor Bell, Mentioned bell (Genanntenglocke), Zwölferin, beer bell (Bierglocke) etc. Very few of them survived the year 1945.
1953
Construction of the Bishop tomb in the catacombs under the Apostle Choir
1954 - 1965
Restoration of the South Tower
1956
Renovation of the Ducal Crypt, construction of the lower church and the lapidary (collection of stone monuments)
Completion of the tower helmet at the north tower (Saphoy'sche hood) with housing of the Pummerin
1961
In 1961 the cathedral received a new peal of eleven bells.
1973
Consecration of the People's altar (makeshift solution)
1977 - 1998
Restoration of the North Tower
1989
Remodeling of the sanctuary and the consecration of the new People's altar (September 14)
1991
Consecration of the new cathedral organ (Servants - Madonna gets here her new stand)
Overall length: 107.2 m outside inside 91.8 m
Width of the nave: 38.9 m
Height of the South tower: (High Tower) 136.7 m
Height of the North tower: 60.6 m
Height of the Heathen towers 65.6 m
1975 Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Church of St Brynach , Llanfrynach
Llanfrynach Church is in the Diocese of Swansea and Brecon, in the community of Llanfrynach in the county of Powys. It is located at Ordnance Survey national grid reference SO0752325791.
The church is recorded in the CPAT Historic Environment Record as number 16859 and this number should be quoted in all correspondence.
Summary
St Brynach's church is situated in the centre of Llanfrynach village some 4km from Brecon. It is a Victorian structure attached to a medieval tower and contains only a few items of interest, namely the only survivor of three early medieval stones found during the rebuilding of 1885 and a medieval font. The churchyard is large for a village church and may once have been more curvilinear than it now appears.
Tower is attributed to 14thC, though it is as likely to be 15thC, but rest of the building dates from 1885.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
An early medieval foundation here seems likely, though the dedication and the three reputedly sculptured stones apart there is no evidence to collaborate such a view.
The 1291 Taxatio records 'Ecclesia de Lambernach' at the unexceptional value of œ4 6s 8d.
The nave and chancel were replaced by a local builder, William Jones, in the Decorated style in 1885. The rood loft which functioned as a gallery according to Theophilus Jones was removed a this time and of three early medieval stones found at the time only one can now be located.
In 1864 the tower wall was broken through to create space for a set of pews for the de Winton family. A west window was created at the same time. The vestry was added in 1892, the tower was re-roofed in 1905, and internally the font was re-dressed in 1892.
Architecture
Llanfrynach comprises a nave with a slightly narrower chancel, a west tower of the same width as the nave, a north vestry with a boiler room underneath, and a south porch towards the south-west corner of the nave. It is aligned north-east/south-west but 'ecclesiastical east' is adopted here for descriptive purposes.
Fabrics: 'A' consists of greyish red sandstone, though with some variations in colour, in both blocks and slabs, irregularly coursed and with ashlar quoins. 'B' is of more regular blocks and slabs, less weathered, and randomly coursed. All this stone looks new and there are buff-yellow sandstone dressings.
Roof: reconstituted clay tiles. Cross finials on chancel and porch.
Drainage: there are no obvious signs other than downpipes into raised drain holes against the walls. It is possible that any trench around the wall has now grassed over.
Exterior
Tower. General. Fabric A. Wall faces are heavily pointed, obscuring the masonry. Certain features are consistent to all faces: there is a chamfered plinth at a height of 1m, a string-course in rounded section at 1.5m, a string-course defines the top of the second stage about two-thirds of the way up the tower, and a third with hollow moulding at the top of the belfry stage; above this is a battlemented parapet, which Griffiths of RCAHMW thought was modern. The whole tower is usually attributed to the 14thC.
North wall: at base of second stage is a trefoil-headed lancet of buff sandstone with a relieving arch over, completely Victorian, inserted. This stage also shows some possible plaster remnants. Belfry is lit by a four-centred arched window, the two lights having cusped tracery and louvre boards; some of the dressings renewed.
East wall: nave apex reaches to just below the second stage string-course. Third stage has standard belfry window but not possible to determine whether any of the dressings renewed. Two waterspouts on the string-course above.
South wall: second stage has an inserted Victorian window as in north wall. At the top of this stage there is also a slit window with unchamfered jambs and a lintel that is splayed on the underside. This slit is blocked up as is part of the standard belfry window in the third stage.
West wall: the second stage carries a large two-light window of Victorian date, and above it is a slit window with undercut lintel as on the south side. The standard belfry window has some renewed tracery, and there are two waterspouts on the string-course above.
Nave. General. Fabric 'B'. Plinth with chamfer at height of between 0.3m-0.6m. Windows of regular form and all have relieving arches in 'B'.
North wall: two two-light windows. Buttress overlies junction of nave and tower.
South wall: three two-light windows, having quatrefoils above, hoodmouldings with ballflower stops; two buttresses, one at south-east angle, the other overlapping tower wall as on the north.
Chancel. General. Similar to nave in terms of fabric, plinth, windows etc. The roof is lower by almost one metre.
North wall: almost completely disguised by vestry.
East wall: three-light window with cusped tracery, hoodmoulding with weathered human-headed stops, relieving arch; two diagonal buttresses at corners.
South wall: one two-light window with trefoiled heads, hoodmoulding with ballflower stops, relieving arch.
Vestry. General. Boiler house beneath with flight of steps leading down to it. Door plus windows are square-headed and the latter have lights with mock Caernarvon arches. Blocked window in east wall.
Porch. General. Fabric 'B'.
East wall: one trefoiled window with a 'decorative' relieving arch; buttress at south-east angle.
South wall: high-pitched gable end. Two-centred arched doorway with complex mouldings and a hoodmoulding with ballflower stops. Old gravestones leant against wall.
West wall: as east wall.
Interior
Porch. General. Stone flags for floor, plastered walls; roof of rafters with collars.
North wall: Gothic arched doorway with complex moulding and ballflower stops to the hoodmoulding. Plain wooden door.
East wall: small splayed window with stone bench beneath.
West wall: as east wall.
Tower. General. Floor is reached by two steps up from nave. Wooden floor with pews set on it. Plastered walls.
North wall: nothing significant.
East wall: high two-centred arch, chamfered on both faces but only above springing points. Early medieval stone (see below) attached to northern reveal.
South and west walls: nothing of significance.
Nave. General. Tiles, some decorated, and raised wooden floors under seats; no grilles or obvious heating ducts. Walls plastered and whitewashed. Roof of spaced scissor-trusses with collars.
North wall: splayed windows, two-centred arched doorway of Victorian form to vestry. Three mural tablets, one of 1763/1785, the other two 19thC.
East wall: high two-centred arch with stops and responds. Galvanised steel plaques bear Lord's Prayer and Ten Commandments.
South wall: splayed windows. Two mural tablets of 19thC and 20thC.
Chancel. General. One step up to chancel and two to altar. Tiled floor with carpets over. Roof as nave but no scissor trusses.
North wall: has organ against it and two 19thC mural tablets.
East wall: galvanised reredos painted with 'Art Noveau' angels on either side of altar.
South wall: 20thC mural tablet.
Churchyard
Llanfrynach churchyard is exceptionally large and flat. Its present shape is sub-square and there is no evidence to indicate an earlier fossilised boundary.
It is overgrown on the east and north sides where there are fewer burial, but the areas of more recent burials are better maintained.
Boundary: the perimeter is defined by a stone wall, replaced by breeze block walling at the north-west angle.
Monuments: their spread is irregular. The area north-west of the church is currently in use, there is a single row east of the chancel, 19thC groups to the south of the church, and further graveslabs have been cleared and are now set against the east and much of the north wall of the churchyard.
Furniture: a churchyard cross, but of the 20thC, having been copied from one at Merthyr Mawr, Glamorgan, in 1910.
Earthworks: church is set on a slight platform, visible at the eastern end and around part of the north side. The earlier bank of the churchyard can be seen running about 2m outside the present eastern perimeter wall.
Ancillary features: small, double iron gates at the western corner, similar gates with the addition of a kissing gate on the south, both served by tarmac paths. On the south-east opposite the pub is a stone stile and on the north-east access from Ty-mawr was provided by a mock crenellated gateway; both of these served by grass paths. The rectory was linked to the church by a vertical stone stile in the north wall.
Vegetation: there are a number of large pines and deciduous trees on the north side of the churchyard and yews form both sides of an avenue running from the porch to the south gate with a few more by the grass path leading eastwards.
Here is my custom black Allan that I dyed then custom painted his torso so things look a bit more consistent. It was… interesting dyeing a whole doll cuz I don’t need to worry about chipping and that since there was only five components to the entire doll getting it all match is much easier than a jointed body. Though of course it was a lot more effort, for me personally, to actually set things up but hey, it was an interesting attempt at dyeing.
Strangely enough he’s a near perfect match for my Silkstone Francie and Julia skin tone so that’s better than expected outcome for him though he does look a bit more south-east Asian/polynesian than an African American person.
I’m really proud of him though since I’ve been hankering to try out doing this mod since it’s relatively common for some vintage doll customisers to do so, and I knew Allan had an interesting sculpt to do so.
Throughout my life, creation has been at the forefront of my minds eye. With photography I find that I am no different in my desire to either create something in the after life of the photos I take, or to be able to see and capture what the world has created for me. As I have consistently done a Project 365 for the past 3 years, I have become very accustomed to shooting every single day, so it was with most difficulty that I had to choose 12 images to represent my year.
1. "Return of the Native." I see face paint as a fantastical extension of everyday make-up. Like a lot of face paint I do, I don't often start with a direction, I just go and see what happens. In this case, it became something that reminded me of tribal war paints. I spent all this time getting the lines even only to turn my head for a few shots because I needed a break from the lights and as it turns out, of all the shots, this one spoke loudest to me. It seemed so wild and savage, yet there was an elegance about it that resonated through the picture.
2. "Footprints" I cannot recall a single moment that aside from the occasional shot looking down on my shoes, that I have ever actually photographed my feet. I wanted to mimic the classic shot that children's photographers often take of a new born babies feet. In post I made the image very soft, almost dream like, kind of an imagined moment of peace in the womb.
3. "Strings Within" Music is truly a part of the pulse in my veins. I wake up every morning to it and end every night with it. This shot illustrates the constant symbiosis I feel when a song permeates my flesh and finds its way into my consciousness.
4. "Born This Way" This song resonated with me. We're born with this skeletal frame and it is the frame work that holds us up through life and helps us to push through whatever darkness to get to the light. This took me a really long time to meticulously paint all of this on, but when I'd finished, I felt proud, steadfast, defiant even. I don't think some people will ever understand what I create sometimes in my other work, but I find that in those moments of hesitation, I defer back to this image, this feeling, and I know it doesn't matter--I create because that's who I am, and I was born to be who I will always be.
5. "Smile" This is the day in earnest I learned to light paint words. I started small with a letter or two, (keep in mind, you have to write backwards) then figured out the longer the exposure the more time I had to create something. This led to one of the greatest nights of my life where myself and two of my friends went through the city painting anything we could get our hands on. We eventually "found our way" to the rooftop of a building in the downtown area, and then set about creating some epic images. We had so much fun that we didn't even notice the party on the rooftop of the building next to us. One of the guests eventually screamed over wondering what the hell we were doing with our flash lights and candles and glow sticks and then invited us to their party. So this image does literally make me smile to think of where it led.
6. "Eye" Blah day for photography, I was shooting out of a window. The photos were horrible. I then turned the camera on myself. For some reason I decided to use my hand to frame my eye. Happy accident. I found the image captivating and apparently so did Explore and a lot of viewers that found their way to it. As many images as I've seen of eyes, I've never seen one like this.
7. "Trouve" means found in French. A photog friend said there is no weather condition short of one which is life threatening that a photographer should not be able to shoot in. I'd strayed from shooting in the rain for a long time, so I took up the challenge on one of the rainiest storms this season. The streets were already flooding when I arrived on the trails, but I forged on despite stepping in massive puddles and soaking both of my shoes completely. I crossed this bridge with the water already threatening to overtake it and saw this one random lime sitting on the park bench. I had no real time to shoot, so I shot it and scurried across the bridge to higher ground in just enough time because no sooner did I make it back across the over pass, then did the water break the bank and flood the entire area. Such a simple composition, but quite an experience to get it.
8. "Metamorphosis" Being tall, I admire and respect the giraffe because I get it. When I wear even the tiniest of heels, I tower over everyone in my life, so I decided to imagine what it would be like to suddenly start taking on the attributes of this creature. I wanted to show a sort of mid range change, as if it were being documented in some lab, "Day 12, she's lost the normal coloring of the eye and the shape of her head has begun to change."
9. "Early" I have wanted to see the sunrise in this park in town for ages, and I always made it too late. This time I was early and was rewarded richly for my efforts. The light hit the water on the lake and everything lit up with the golden light. All the creatures, many whom I didn't know existed, were stirring. Every where I turned, there was something. This is a reed that was jutting out in the lily pond. The whole morning I had to keep reminding myself to relax and concentrate so as not to miss anything.
10. "Wicked" I loved this whole series. Its kind of alien meets feline. Those claws were fantastic.
11. "Chucks Love" Although these are not actually chucks, I have had a pair of chucks and/or chuck knock offs since I was a kid. I loved the striped pattern on these and have worn them to death. True chuck wearers know that you don't cast these aside when they get a tiny rip, or the rubber starts to peel, you wear them until a toe pops loose. Then and only then can you send them off to pasture.
12: "Rotation." In the trailer for Prometheus, they were running this ad, "Hello David" in which the character rotates. It reminded me of that shocking moment in Total Recall with Arnie where his head comes out of that woman's on Mars and the airlock busts open and everyone goes flying. I wanted mine to be a full rotation and so each piece is cut so that it ends with the next rotation concluding with the neck. I had to shoot this several times to get just the right amount of rotation. I loved the effect of adding the engineering schematics layer. It's very robotic to me.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
How's everyone's new year going so far?
As teased on a few occasions (mostly cause it took me so damn long to actually sit down and get all these photos done), I present to you the S.H. Figuarts Sailor Uranus and Sailor Neptune, from a local comic book store on New Years Eve 2019. Seeing as these two hang out together on the show consistently, it only made sense to bring them into the horde as a duo.
In the world of Sailor Moon, there are many set relationships (or ships, if you're cool) between characters, but for me next to Darien & Serena, it's always going to be these two - Sailor Uranus and Sailor Neptune. Now, I can't exactly recall specifics with regards to their relationship in the 90s US dub, probably because censors figured the concept of a queer relationship would blow our delicate little minds. If we're going by official canon, these two lovebirds are amongst the last of the Outer Senshi to be introduced into the series, and really only show up in the third season of the anime. As I mentioned, my mind is somewhat of a haze when it comes to the show at this point, but I do seem to recall there were a couple of episodes where everyone thought Amara (US 90s Dub Uranus) was male, and where she was perceived to be hitting on Serena, much to the annoyance of Darien. I also seem to remember the pair going to a different high school than the Inner Senshi (original 5).
Rather than butcher the series any further, I'm just gonna move on.
As I've stated in earlier episodes, getting my hands on Sailor Moon Figuarts at an acceptable prices is, and remains, a test of patience and luck. Sometimes, things pan out (like here), sometimes not so much. What makes getting these two particularly annoying is that unbeknownst to me, Uranus and Neptune are actually Bandai online shop exclusives, much like many of their annoying to get Dragonball items. The chaos is of course, less here in North America as opposed to Japan, but this usually translates into a higher than normal MSRP. So given all this, I figure the $60 CAD a piece, taxes in, from a store no less, was pretty good.
Having said all that, upon opening you can at the very least appreciate the reasoning behind the slightly higher price. Each box comes with an absurd number of accessories, especially Uranus. Common to each would be a figure, several additional sculpts (both have four faces in total which range from netural expression to attacking, with Neptune having one dedicated to a serene, closed eye look), their weapon of choice (Space Sword for Uranus, Deep Aqua Mirror for Neptune) and the "gets the job done" stand. The sheer number of hands with each figure is definitely above average and should cover all your posing needs. There's also crossed arm optional parts for both figures, with an additional lovestruck face for Serena included with Uranus, and a hands clasped part for Neptune.
Overall, there are are 13 additional hand related options for each figure, in addition to the two hands that come with the figure itself.
Uranus and Neptune are among the taller of the Senshi, with Uranus reported to be 6', the tallest of them all (who I always figured was Jupiter.. oh well). Naturally the Black Widow figure is from a different series so the scaling there is questionable, but it's good to see amongst the Sailor Senshi that this difference is actually reflected properly, even if not so much in their footwear. To my eyes though, Uranus seems to be way too lanky, with Tamashii Nations only scaling the length of the various limbs and the abdomen of the standard figure, but nothing from a girth perspective. Interestingly, they didn't make the hands any different size as compared to the Inner Senshi, making either Sailor Moon and co having giant hands, or Sailor Uranus and co. having midget hands. Either or works for me from a comedy perspective. I'm pretty sure the Skirt and the chest section are exactly the same size across the board.
Proportions aside, I'd say that the figures again capture the essence of the character. Neptune has always been the more elegant of the the pair and she remains so here, though from a design perspective I've always favoured Jupitor and Saturn. Outfits, faces, hair, and so on all capture the anime aesthetic quite well, with allowances given due to the scale.
Rounding the usual bases, articulation is pretty good for a circa 2013-14 Figuarts, and are the same across the board for all the Sailor Senshi. You have ankles, single jointed knees, hips with pull down to allow for more range of motion, waist, mid torso, shoulders with some chest compress and bicep swivel, single jointed elbows, wrist, and head. All your gang sign flashing and Sentai style posing desires should be fulfilled for the most part, though more elegant sitting poses/kneeling poses aren't happening with the restriction of the skirt. Dynamic leaping poses, I'm happy to say, are technically doable, with assistance from the dynamic stand.
Paint is always a mixed bag with these older Figuarts releases. As always, most of the white coloured parts are painted in pearl white over translucent white plastic, giving the figures a slight shimmering effect. The overall paint job is pretty good from afar, but up close you're going to run into masking errors, particularly in areas where there is use of the white paint which has always had one or two less than stellar masking jobs on all five of the Senshi that are in my collection, as well as areas of other colour such as the straps on Neptune's feet. There's some nice shading at the base of Neptune's hair at the back.
Decal work on the eyes is solid, though the paint apps for the mouths are... okay, though fortunately the colouring is just a highlight of the face detailing itself.
Build quality itself is about what you'd expect for a Figuarts - use of plastics that generally don't warp under the slightest touch *cough* HASBRO *cough*. Tolerances on parts are overall good, with the strange exception of Uranus's arms that don't always want to stay in their pegs which can make posing her a bit of a pain - Neptune holds together much better from that regard. Assembly gaps are generally sanded down and covered with some paint, though they are still easily observable. There is a moulding seam running from front to back of Uranus's front hair piece.. not sure if that's just on mine or if that's a running acceptable QC thing.
There you have it - the second most prominent power couple in the Sailor Moon universe, at least in my books. The figures are pretty much what I expected them to be, and while they're not as aged as the original Dragonball figures, it would be interesting to see what improvements a line using the newest Figuarts bodies would be like. Though if Bandai has plans to do this, I'd love to know sooner than later so I can abandon my plans for completing the set.
How's everyone's new year going so far?
As teased on a few occasions (mostly cause it took me so damn long to actually sit down and get all these photos done), I present to you the S.H. Figuarts Sailor Uranus and Sailor Neptune, from a local comic book store on New Years Eve 2019. Seeing as these two hang out together on the show consistently, it only made sense to bring them into the horde as a duo.
In the world of Sailor Moon, there are many set relationships (or ships, if you're cool) between characters, but for me next to Darien & Serena, it's always going to be these two - Sailor Uranus and Sailor Neptune. Now, I can't exactly recall specifics with regards to their relationship in the 90s US dub, probably because censors figured the concept of a queer relationship would blow our delicate little minds. If we're going by official canon, these two lovebirds are amongst the last of the Outer Senshi to be introduced into the series, and really only show up in the third season of the anime. As I mentioned, my mind is somewhat of a haze when it comes to the show at this point, but I do seem to recall there were a couple of episodes where everyone thought Amara (US 90s Dub Uranus) was male, and where she was perceived to be hitting on Serena, much to the annoyance of Darien. I also seem to remember the pair going to a different high school than the Inner Senshi (original 5).
Rather than butcher the series any further, I'm just gonna move on.
As I've stated in earlier episodes, getting my hands on Sailor Moon Figuarts at an acceptable prices is, and remains, a test of patience and luck. Sometimes, things pan out (like here), sometimes not so much. What makes getting these two particularly annoying is that unbeknownst to me, Uranus and Neptune are actually Bandai online shop exclusives, much like many of their annoying to get Dragonball items. The chaos is of course, less here in North America as opposed to Japan, but this usually translates into a higher than normal MSRP. So given all this, I figure the $60 CAD a piece, taxes in, from a store no less, was pretty good.
Having said all that, upon opening you can at the very least appreciate the reasoning behind the slightly higher price. Each box comes with an absurd number of accessories, especially Uranus. Common to each would be a figure, several additional sculpts (both have four faces in total which range from netural expression to attacking, with Neptune having one dedicated to a serene, closed eye look), their weapon of choice (Space Sword for Uranus, Deep Aqua Mirror for Neptune) and the "gets the job done" stand. The sheer number of hands with each figure is definitely above average and should cover all your posing needs. There's also crossed arm optional parts for both figures, with an additional lovestruck face for Serena included with Uranus, and a hands clasped part for Neptune.
Overall, there are are 13 additional hand related options for each figure, in addition to the two hands that come with the figure itself.
Uranus and Neptune are among the taller of the Senshi, with Uranus reported to be 6', the tallest of them all (who I always figured was Jupiter.. oh well). Naturally the Black Widow figure is from a different series so the scaling there is questionable, but it's good to see amongst the Sailor Senshi that this difference is actually reflected properly, even if not so much in their footwear. To my eyes though, Uranus seems to be way too lanky, with Tamashii Nations only scaling the length of the various limbs and the abdomen of the standard figure, but nothing from a girth perspective. Interestingly, they didn't make the hands any different size as compared to the Inner Senshi, making either Sailor Moon and co having giant hands, or Sailor Uranus and co. having midget hands. Either or works for me from a comedy perspective. I'm pretty sure the Skirt and the chest section are exactly the same size across the board.
Proportions aside, I'd say that the figures again capture the essence of the character. Neptune has always been the more elegant of the the pair and she remains so here, though from a design perspective I've always favoured Jupitor and Saturn. Outfits, faces, hair, and so on all capture the anime aesthetic quite well, with allowances given due to the scale.
Rounding the usual bases, articulation is pretty good for a circa 2013-14 Figuarts, and are the same across the board for all the Sailor Senshi. You have ankles, single jointed knees, hips with pull down to allow for more range of motion, waist, mid torso, shoulders with some chest compress and bicep swivel, single jointed elbows, wrist, and head. All your gang sign flashing and Sentai style posing desires should be fulfilled for the most part, though more elegant sitting poses/kneeling poses aren't happening with the restriction of the skirt. Dynamic leaping poses, I'm happy to say, are technically doable, with assistance from the dynamic stand.
Paint is always a mixed bag with these older Figuarts releases. As always, most of the white coloured parts are painted in pearl white over translucent white plastic, giving the figures a slight shimmering effect. The overall paint job is pretty good from afar, but up close you're going to run into masking errors, particularly in areas where there is use of the white paint which has always had one or two less than stellar masking jobs on all five of the Senshi that are in my collection, as well as areas of other colour such as the straps on Neptune's feet. There's some nice shading at the base of Neptune's hair at the back.
Decal work on the eyes is solid, though the paint apps for the mouths are... okay, though fortunately the colouring is just a highlight of the face detailing itself.
Build quality itself is about what you'd expect for a Figuarts - use of plastics that generally don't warp under the slightest touch *cough* HASBRO *cough*. Tolerances on parts are overall good, with the strange exception of Uranus's arms that don't always want to stay in their pegs which can make posing her a bit of a pain - Neptune holds together much better from that regard. Assembly gaps are generally sanded down and covered with some paint, though they are still easily observable. There is a moulding seam running from front to back of Uranus's front hair piece.. not sure if that's just on mine or if that's a running acceptable QC thing.
There you have it - the second most prominent power couple in the Sailor Moon universe, at least in my books. The figures are pretty much what I expected them to be, and while they're not as aged as the original Dragonball figures, it would be interesting to see what improvements a line using the newest Figuarts bodies would be like. Though if Bandai has plans to do this, I'd love to know sooner than later so I can abandon my plans for completing the set.
Joel Parkinson Leads ASP Top Stars in Assault on Rip Curl Pro Bells Beach Round 1
BELLS BEACH, Victoria/Australia (Wednesday, April 20, 2011) – Today marks the commencement of the 50th Anniversary of competition surfing at Bells Beach as Round 1 of the 2011 Rip Curl Pro Bells presented by Ford Ranger got underway in clean four-to-six foot (1.5 - 2 metre) surf.
The Rip Curl Pro Bells Beach, the second stop on the 2011 ASP World Title season, enjoyed consistent surf throughout the day as the world’s best surfers unleashed a barrage of high-performance ripping on the classic canvas of Bells Beach.
Joel Parkinson (AUS), 30, 2009 Rip Curl Pro Bells Beach Champion put in a sensational performance this afternoon, electing to sit up at Rincon to secure the day’s highest scores.. Parkinson locked in the highest wave score and the highest heat score of the opening day of competition scoring 17.74 (out of a possible 20.00) to advance directly through to Round 3 of competition.
"I fell off twice on the bowl," Parkinson said. "It was really hard to ride. Then CJ (Hobgood) went across to Rincon and got a score, so we followed him over and it worked out for me. It's great to get that opening heat win, especially at Bells. You never know what conditions you're going to get in a heat, so to be able to skip round two and maybe get a day off is a huge advantage."
Kelly Slater (USA), 39, reigning 10-time ASP World Champion and defending event winner, was clinical in his attack in his Round 1 heat. Slater had his fellow competitors Adam Robertson (AUS), 28, and Kai Otton (AUS), 31, on the ropes only minutes into the heat, scoring an impressive 16.00 (out of a possible 20.00) on his opening two rides.
"I don't free surf out at Bells a whole lot," Slater said. "When the waves are good the comp is on and outside of that it's pretty crowded. So I'm still learning with each heat out there still, surfing against a guy like Robbo (Adam Robertson) you've got to watch where he's sitting, how far our and how deep."
Mick Fanning (AUS), 29, currently equal 13th in the hunt for the 2011 ASP World Title, went into today’s competition with renewed vigor after a shock early exit at the last event on the Gold Coast. The past two-time ASP World Champion came out and dominated his Round 1 battle over Tiago Pires (PRT), 31, and Gabriel Medina (BRA), 17.
"I'm stoked to get a good start," Fanning said. "It's been 10 years since I won here as I wildcard, I got close last year but Kelly Slater got me in the final. You want to win every event, but being the 50th Anniversary and so much history at this event, it's like the Wimbeldon of surfing, it's a hard one to win but it's the one everyone wants."
Alejo Muniz (BRA), 21, led today’s rookie charge, continuing his sensational run after the and equal 5th on the Gold Coast, and dispatching of fellow Brazilian Ranoi Monterio (BRA), 28, and Australian Adrian Buchan (AUS), 28 in this morning’s opening round heat.
"It's so good out there!" Muniz said. "This is my first time surfing at Bells and it's the most amazing place. It's got perfect rights, and it's the kind of wave that I love to surf. It's the best place ever, best waves, best weather and I love surfing in wetsuits."
Jeremy Flores (FRA), 22, bounced back after missing the Quiksilver Pro Gold Coast with a knee injury, to score a comprehensive win over Taylor Knox (USA), 39, and Cory Lopez (USA), 34.
"I wasn't very confident before the heat," Flores said. "But I got that first wave and did a big turn at the end and got a good score. I think that's what you need to do these days, finish the wave strong. My knee still isn't 100%, but I went for it and it's good to win. Big thanks to everyone at the Gold Coast Suns Football Club for helping with my knee, it's feeling much better now."
Stu Kennedy (AUS), 21, scored a last minute wildcard into the event and caused the upset of the day, eliminating 2010 ASP World Title runner-up Jordy Smith (ZAF), 23, and Dusty Payne (HAW), 22.
"I've been coming here for years," Kennedy said. "I won a Pro Junior here in 2008 and I know where to sit. I don't think Dusty and Jordy know the break as well as I do so that helps. I've been up since 3am because I'm jet-lagged from coming home from Scotland. I woke up with a bunch of energy it's my shaper's birthday so I woke him up at 5am to go surfing. I had to win my heat for him for his birthday."
When men’s competition resumes, up first will be 2010 ASP World Runner-Up Jordy Smith (ZAF), 23, up against Trials Winner Adam Robertson (AUS), 28, in the opening heat of Round 2.
Following the completion of the men’s Round 1 today, the ASP Top 17 hit the water for Round 1 of the Rip Curl Women’s Pro Bells Beach presented by Ford Fiesta.
Stephanie Gilmore (AUS), 23, reigning four-time ASP Women’s World Champion and defending three-time Rip Curl Women’s Bells Beach winner, returned to her winning ways today, after bowing out early at the last event, the Roxy Pro Gold Coast.
"My first two years on tour I didn't have great results on the Gold Coast," Gilmore said. "I always bounced back at this event and then finished the year well, so hopefully I'll do that again this year. The Gold Coast was a fine showing of what women's surfing is up to now and everyone has to try and keep up. It really pushes me and I think anyone who wins an event from now on will be a very deserving winner because of that fact."
Pauline Ado (FRA), 19, the French rookie caused the upset of the women's event, defeating current ASP World Title front runner Carissa Moore (HAW), 18, in a nail biter of a heat.
"I'm really happy, I had a lot of fun out there," Ado said "I got one of my good waves in the first few seconds so after that I felt confident and knew I could be more selective and wait for the right wave. A heat against Carissa is always a tough one, so I'm really stoked to win."
When women’s competition resumes, up first will be Paige Hareb (NZL) and Jessi Miley-Dyer (AUS) in the opening heat of Round 2.
Event organizers will reconvene tomorrow morning at 7am to assess conditions for a possible 7:30am start.
Highlights from the Rip Curl Pro Bells Beach presented by FORD will be webcast available via www.live.ripcurl.com and broadcast live on Fuel TV in Australia and ESPN in Brazil.
For more information, log onto www.aspworldtour.com
RIP CURL PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Alejo Muniz (BRA) 13.23, Adrian Buchan (AUS) 11.26, Raoni Monteiro (BRA) 7.37
Heat 2: Adam Melling (AUS) 14.50, Josh Kerr (AUS) 12.30, Taj Burrow (AUS) 11.00
Heat 3: Heitor Alves (BRA) 14.36, Bobby Martinez (USA) 14.14, Owen Wright (AUS) 10.60
Heat 4: Mick Fanning (AUS) 15.60, Tiago Pires (PRT) 11.07, Gabriel Medina (BRA) 9.27
Heat 5: Stu Kennedy (AUS) 11.70, Dusty Payne (HAW) 10.50, Jordy Smith (ZAF) 9.00
Heat 6: Kelly Slater (USA) 16.00, Kai Otton (AUS) 10.13, Adam Robertson (AUS) 8.53
Heat 7: Jeremy Flores (FRA) 13.17, Cory Lopez (USA) 5.83, Taylor Knox (USA) 4.67
Heat 8: Michel Bourez (PYF) 12.60, Kieren Perrow (AUS) 10.20, Gabe Kling (USA) 3.50
Heat 9: Matt Wilkinson (AUS) 14.60, Damien Hobgood (USA) 11.23, Daniel Ross (AUS) 11.07
Heat 10: Joel Parkinson (AUS) 17.74, C.J. Hobgood (USA) 11.44, Bede Durbidge (AUS) 8.17
Heat 11: Adriano de Souza (BRA) 14.60, Chris Davidson (AUS) 10.83, Julian Wilson (AUS) 9.83
Heat 12: Patrick Gudauskas (USA) 13.40, Jadson Andre (BRA) 9.43, Brett Simpson (USA) 8.93
RIP CURL PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Jordy Smith (ZAF) vs. Adam Robertson (AUS)
Heat 2: Owen Wright (AUS) vs. Gabriel Medina (BRA)
Heat 3: Taj Burrow (AUS) vs. Bobby Martinez (USA)
Heat 4: Adrian Buchan (AUS) vs. Josh Kerr (AUS)
Heat 5: Damien Hobgood (USA) vs. Raoni Monteiro (BRA)
Heat 6: Bede Durbidge (AUS) vs. Cory Lopez (USA)
Heat 7: Brett Simpson (USA) vs. Gabe Kling (USA)
Heat 8: Jadson Andre (BRA) vs. Daniel Ross (AUS)
Heat 9: Chris Davidson (AUS) vs. Julian Wilson (AUS)
Heat 10: C.J. Hobgood (USA) vs. Kai Otton (AUS)
Heat 11: Kieren Perrow (AUS) vs. Dusty Payne (HAW)
Heat 12: Taylor Knox (USA) vs. Tiago Pires (PRT)
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 1 RESULTS:
Heat 1: Sofia Mulanovich (PER) 12.93, Chelsea Hedges (AUS) 8.70, Jessi Miley-Dyer (AUS) 8.66
Heat 2: Silvana Lima (BRA) 14.94, Laura Enever (AUS) 8.84, Melanie Bartels (HAW) 7.54
Heat 3: Pauline Ado (HAW) 14.60, Carissa Moore (HAW) 14.44, Nikki Van Dijk (AUS) 10.63
Heat 4: Stephanie Gilmore (AUS) 16.30, Courtney Conlogue (USA) 9.00, Bethany Hamilton (HAW) 6.50
Heat 5: Sally Fitzgibbons (AUS) 16.10, Alana Blanchard (HAW) 12.83 Paige Hareb (NZL) 7.47
Heat 6: Coco Ho (HAW) 12.90, Tyler Wright (AUS) 12.00, Pauline Ado (FRA) 6.37
RIP CURL WOMEN’S PRO BELLS BEACH ROUND 2 MATCH-UPS:
Heat 1: Paige Hareb (NZL) vs. Jessi Miley-Dyer (AUS)
Heat 2: Laura Enever (AUS) vs. Melanie Bartels (HAW)
Heat 3: Carissa Moore (HAW) vs. Nikki Van Dijk (AUS)
Heat 4: Chelsea Hedges (AUS) vs. Bethany Hamilton (HAW)
Heat 5: Tyler Wright (AUS) vs. Alana Blanchard (HAW)
Heat 6: Courtney Conlogue (USA) vs. Rebecca Woods (AUS)
Photo ASP/Scholtz
Shuhada' Sadaqat[8][a] (born Sinéad Marie Bernadette O'Connor; 8 December 1966 – July 2023), known professionally as Sinéad O'Connor,[9][b] was an Irish singer, songwriter and political activist. Her debut studio album, The Lion and the Cobra, was released in 1987 and charted internationally. Her second studio album, I Do Not Want What I Haven't Got (1990), became her biggest success, selling over seven million copies worldwide.[11] Its lead single, "Nothing Compares 2 U", was named the number-one world single in 1990 by the Billboard Music Awards.[12]
O'Connor released ten studio albums. Am I Not Your Girl? (1992) and Universal Mother (1994) were certified gold in the UK,[13] Faith and Courage (2000) was certified gold in Australia,[14] and Throw Down Your Arms (2005) went gold in Ireland.[15] Her work included songs for films, collaborations with many other artists, and appearances at charity fundraising concerts. Her 2021 memoir Rememberings was a bestseller.[16]
In 1999, O'Connor was ordained as a priest by the Irish Orthodox Catholic and Apostolic Church, an Independent Catholic sect that is not recognised by the Roman Catholic Church.[17] She consistently spoke out on issues related to child abuse (including her 1992 Saturday Night Live protest against the continued cover-up of Catholic Church sexual abuse cases), human rights, racism, organised religion, and women's rights. Throughout her music career, she spoke about her spiritual journey, activism, socio-political views, as well as her trauma and mental health struggles. In 2017, O'Connor changed her name to Magda Davitt. After converting to Islam in 2018 she changed it to Shuhada' Sadaqat,[2][8][18] but continued to record and perform under her birth name.[
O'Connor was born Sinéad Marie Bernadette O'Connor[20] in the Cascia House Nursing Home at 13 Pembroke Road, Dublin, on 8 December 1966.[2] She was named Sinéad after Sinéad de Valera, the mother of the doctor presiding over the delivery, Éamon de Valera, Jnr., and Bernadette in honour of Saint Bernadette of Lourdes.[21][22] She was the third of five children;[23] her siblings are novelist Joseph,[24] Eimear,[25] John,[26] and Eoin.[27]
Her parents are John Oliver "Seán" O'Connor, a structural engineer later turned barrister[23] and chairperson of the Divorce Action Group,[28] and Johanna Marie O'Grady (1939–1985), who married in the Church of Our Lady of Good Counsel, Drimnagh, Dublin, in 1960. She attended Dominican College Sion Hill school in Blackrock, County Dublin.[29]
In 1979, O'Connor left her mother and went to live with her father, who had married Viola Margaret Suiter (née Cook) in Alexandria, Virginia, United States, in 1976.[30] At the age of 15, her shoplifting and truancy led to her being placed for 18 months in a Magdalene asylum called the Grianán Training Centre in Drumcondra run by the Order of Our Lady of Charity.[31] In some ways, she thrived there, especially in the development of her writing and music, but she also chafed under the imposed conformity. Unruly students there were sometimes sent to sleep in the adjoining nursing home, an experience of which she later commented, "I have never—and probably will never—experience such panic and terror and agony over anything."[32] She later for a period attended the Quaker Newtown School, Waterford for 5th and 6th year but did not sit the Leaving Certificate in 1985.[33][34]
On 10 February 1985, when O'Connor was 18, her mother Marie died in a car accident, aged 45, after losing control of her car on an icy road in Ballybrack and crashing into a bus.[35][36]
In June 1993, O'Connor wrote a public letter in The Irish Times which asked people to "stop hurting" her: "If only I can fight off the voices of my parents / and gather a sense of self-esteem / Then I'll be able to REALLY sing ..." The letter repeated accusations of abuse by her parents as a child which O'Connor had made in interviews. Her brother Joseph defended their father to the newspaper but agreed regarding their mother's "extreme and violent abuse, both emotional and physical". O'Connor said that month, "Our family is very messed up. We can't communicate with each other. We are all in agony. I for one am in agony."[37]
Musical career 1980s
One of the volunteers at Grianán was the sister of Paul Byrne, drummer for the band In Tua Nua, who heard O'Connor singing "Evergreen" by Barbra Streisand. She recorded a song with them called "Take My Hand" but they felt that at 15, she was too young to join the band.[38] Through an ad she placed in Hot Press in mid-1984, she met Colm Farrelly. Together they recruited a few other members and formed a band called Ton Ton Macoute.[22] The band moved to Waterford briefly while O'Connor attended Newtown School, but she soon dropped out of school and followed them to Dublin, where their performances received positive reviews. Their sound was inspired by Farrelly's interest in world music, though most observers thought O'Connor's singing and stage presence were the band's strongest features.[22][39]
O'Connor's time as singer for Ton Ton Macoute brought her to the attention of the music industry, and she was eventually signed by Ensign Records. She also acquired an experienced manager, Fachtna Ó Ceallaigh, former head of U2's Mother Records. Soon after she was signed, she embarked on her first major assignment, providing the vocals for the song "Heroine", which she co-wrote with U2's guitarist the Edge for the soundtrack to the film Captive. Ó Ceallaigh, who had been fired by U2 for complaining about them in an interview, was outspoken with his views on music and politics, and O'Connor adopted the same habits; she defended the actions of the Provisional IRA and said U2's music was "bombastic".[2] She later retracted her IRA comments saying they were based on nonsense, and that she was "too young to understand the tense situation in Northern Ireland properly".[40]
Her first album The Lion and the Cobra was "a sensation" when it was released in 1987 on Chrysalis Records,[41] and it reached gold record status, earning a Best Female Rock Vocal Performance Grammy nomination. The single "Mandinka" was a big college radio hit in the United States, and "I Want Your (Hands on Me)" received both college and urban play in a remixed form that featured rapper MC Lyte. In her first U.S. network television appearance, O'Connor sang "Mandinka" on Late Night with David Letterman in 1988.[42] The song "Troy" was also released as a single in the UK, Ireland, and the Netherlands, where it reached number 5 on the Dutch Top 40 chart.[43]
O'Connor named Bob Dylan, David Bowie, Bob Marley, Siouxsie and the Banshees, and the Pretenders as the artists who influenced her on her debut album.[44] In 1989 O'Connor joined The The frontman Matt Johnson as a guest vocalist on the band's album Mind Bomb, which spawned the duet "Kingdom of Rain".[45] That same year, she made her first foray into cinema, starring in and writing the music for the Northern Irish film Hush-a-Bye-Baby.[46]
1990s
O'Connor's second album – 1990's I Do Not Want What I Haven't Got – gained considerable attention and mostly positive reviews:[47] it was rated "second best album of the year" by the NME.[48] She was praised for her voice and original songs, while being noted for her appearance: trademark shaved head, often angry expression, and sometimes shapeless or unusual clothing.[47] The album featured Marco Pirroni (of Adam and the Ants fame), Andy Rourke (from The Smiths) and John Reynolds, her first husband;[49] most notably, it contained her international breakthrough hit "Nothing Compares 2 U", a song written by Prince[50][51] and originally recorded and released by a side project of his, the Family.[51] Hank Shocklee, producer for Public Enemy, remixed the album's next single, "The Emperor's New Clothes",[49] for a 12-inch that was coupled with another song from the LP, "I Am Stretched on Your Grave". Pre-dating but included on I Do Not Want What I Haven't Got, was "Jump in the River", which originally appeared on the Married to the Mob soundtrack; the 12-inch version of the single had included a remix featuring performance artist Karen Finley.[52][53]
In July 1990, she joined other guests for former Pink Floyd member Roger Waters' performance of The Wall in Berlin.[54] She contributed a cover of "You Do Something to Me" to the Cole Porter tribute/AIDS fundraising album Red Hot + Blue produced by the Red Hot Organization.[55] Red Hot + Blue was followed by the release of Am I Not Your Girl?, an album made of covers of jazz standards and torch songs she had listened to while growing up; the album received mixed-to-poor reviews, and was a commercial disappointment in light of the success of her previous work.[56] Her take on Elton John's "Sacrifice" was acclaimed as one of the best efforts on the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin.[57]
Also in 1990, she was criticised after she stated that she would not perform if the United States national anthem was played before one of her concerts; Frank Sinatra threatened to "kick her in the ass".[58] After receiving four Grammy Award nominations, she withdrew her name from consideration.[2] Although nominated for the Brit Award for International Female Solo Artist, which she won, she did not attend the awards ceremony, but did accept the Irish IRMA in February 1991.[59]
I don't do anything in order to cause trouble. It just so happens that what I do naturally causes trouble. I'm proud to be a troublemaker.
—O'Connor in NME, March 1991[60]
She spent the following months studying bel canto singing with teacher Frank Merriman at the Parnell School of Music. In an interview with The Guardian, published in May 1993, she reported that singing lessons with Merriman were the only therapy she was receiving, describing Merriman as "the most amazing teacher in the universe."[61]
In 1992, she contributed backing vocals on the track "Come Talk To Me", and shared vocals on the single "Blood of Eden" from the studio album Us by Peter Gabriel. Gabriel invited her to join his ongoing Secret World Tour in May 1993, to sing these songs and more in an elaborate stage setting. O'Connor travelled and performed as a guest artist.[62] She was seen at Gabriel's side at the 1993 MTV Video Music Awards in September. While in Los Angeles, she took too many sleeping pills, inciting media conjecture about a suicide attempt. She said she "was in a bad way emotionally at the time, but it wasn't a suicide attempt."[63] She left the tour suddenly, causing Gabriel to scramble for a replacement singer.[62] Decades later, she wrote in her memoir Rememberings that she left Gabriel because he treated her casually, and would not make a commitment.[6]
The 1993 soundtrack to the film In the Name of the Father featured O'Connor's "You Made Me the Thief of Your Heart".[49] Her more conventional Universal Mother album (1994) spawned two music videos for the first and second singles, "Fire on Babylon" and "Famine", that were nominated for a Grammy Award for Best Short Form Music Video.[64][65] She toured with Lollapalooza in 1995, but dropped out when she became pregnant with her second child.[66] In 1997, she released the Gospel Oak EP.[67]
In 1994, she appeared in A Celebration: The Music of Pete Townshend and The Who,[68] also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey of the Who in celebration of his 50th birthday.[69] A CD and a VHS video of the concert were issued in 1994, followed by a DVD in 1998.[70][71]
In 1996, O'Connor guested on Broken China, a solo album by Pink Floyd's Richard Wright.[72]
O'Connor made her final feature film appearance in Neil Jordan's The Butcher Boy in 1997, playing the Virgin Mary.[73]
In 1998, she worked again with the Red Hot Organization to co-produce and perform on Red Hot + Rhapsody.[74]
2000s
O'Connor at the "Music in My Head" festival in The Hague, 13 June 2008
Faith and Courage was released in 2000, including the single "No Man's Woman", and featured contributions from Wyclef Jean of the Fugees and Dave Stewart of Eurythmics.[75]
Her 2002 album, Sean-Nós Nua, marked a departure in that O'Connor interpreted or, in her own words, "sexed up" traditional Irish folk songs, including several in the Irish language.[76] In Sean-Nós Nua, she covered a well-known Canadian folk song, "Peggy Gordon".[77]
In 2003, she contributed a track to the Dolly Parton tribute album Just Because I'm a Woman, a cover of Parton's "Dagger Through the Heart". That same year, she also featured on three songs of Massive Attack's album 100th Window before releasing her double album, She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the Almighty. This compilation contained one disc of demos and previously unreleased tracks and one disc of a live concert recording. Directly after the album's release, O'Connor announced that she was retiring from music.[78] Collaborations, a compilation album of guest appearances, was released in 2005—featuring tracks recorded with Peter Gabriel, Massive Attack, Jah Wobble, Terry Hall, Moby, Bomb the Bass, the Edge, U2, and The The.[79]
Ultimately, after a brief period of inactivity and a bout with fibromyalgia, her retirement proved to be short-lived. O'Connor stated in an interview with Harp magazine that she had only intended to retire from making mainstream pop/rock music, and after dealing with her fibromyalgia she chose to move into other musical styles.[80] The reggae album Throw Down Your Arms appeared in late 2005.[81]
On 8 November 2006, O'Connor performed seven songs from her upcoming album Theology at The Sugar Club in Dublin. Thirty fans were given the opportunity to win pairs of tickets to attend along with music industry critics.[82] The performance was released in 2008 as Live at the Sugar Club deluxe CD/DVD package sold exclusively on her website.[83]
O'Connor released two songs from her album Theology to download for free from her official website: "If You Had a Vineyard" and "Jeremiah (Something Beautiful)". The album, a collection of covered and original Rastafari spiritual songs, was released in June 2007. The first single from the album, the Tim Rice and Andrew Lloyd Webber classic "I Don't Know How to Love Him", was released on 30 April 2007.[84] To promote the album, O'Connor toured extensively in Europe and North America. She also appeared on two tracks of the new Ian Brown album The World Is Yours, including the anti-war single "Illegal Attacks".[85]
2010s
In January 2010, O'Connor performed a duet with R&B singer Mary J. Blige produced by former A Tribe Called Quest member Ali Shaheed Muhammad of O'Connor's song "This Is To Mother You" (first recorded by O'Connor on her 1997 Gospel Oak EP). The proceeds of the song's sales were donated to the organisation GEMS (Girls Educational and Mentoring Services).[86] In 2012 the song "Lay Your Head Down", written by Brian Byrne and Glenn Close for the soundtrack of the film Albert Nobbs and performed by O'Connor, was nominated for a Golden Globe Award for Best Original Song.[87]
O'Connor performing in 2013
In 2011, O'Connor worked on recording a new album, titled Home, to be released in the beginning of 2012,[88] titled How About I Be Me (and You Be You)?,[89][90] with the first single being "The Wolf is Getting Married". She planned an extensive tour in support of the album but suffered a serious breakdown between December 2011 and March 2012,[91] resulting in the tour and all other musical activities for the rest of 2012 being cancelled. O'Connor resumed touring in 2013 with The Crazy Baldhead Tour. The second single "4th and Vine" was released on 18 February 2013.[92]
In February 2014, it was revealed that O'Connor had been recording a new album of original material, titled The Vishnu Room, consisting of romantic love songs.[93] In early June 2014, the new album was retitled I'm Not Bossy, I'm the Boss, with an 11 August release date. The title derives from the Ban Bossy campaign that took place earlier the same year. The album's first single is entitled "Take Me to Church".[94][95]
In November 2014, O'Connor's management was taken over by Simon Napier-Bell and Björn de Water.[96] On 15 November, O'Connor joined the charity supergroup Band Aid 30 along with other British and Irish pop acts, recording a new version of the track "Do They Know It's Christmas?" at Sarm West Studios in Notting Hill, London, to raise money for the West African Ebola virus epidemic.[97]
In September 2019, O'Connor performed live for the first time in five years, singing "Nothing Compares 2 U" with the Irish Chamber Orchestra on RTÉ's The Late Late Show.[98][99]
2020s
In October 2020, O'Connor released a cover of Mahalia Jackson's Trouble of the World, with proceeds from the single to benefit Black Lives Matter charities.[100]
On 4 June 2021, O'Connor announced her immediate retirement from the music industry. While her final studio album, No Veteran Dies Alone, was due to be released in 2022, O'Connor stated that she would not be touring or promoting it.[101] Announcing the news on Twitter, she said "This is to announce my retirement from touring and from working in the record business. I've gotten older and I'm tired. So it's time for me to hang up my nipple tassels, having truly given my all. NVDA in 2022 will be my last release. And there'll be no more touring or promo."[101][102] On 7 June she retracted her previous statement, describing the original announcement as "a knee-jerk reaction" to an insensitive interview, and announcing that she would go ahead with her already scheduled 2022 tour.[103]
On 1 June 2021, O'Connor's memoir Rememberings was released to positive critical reception. It was listed among the best books of the year on BBC Culture.[104]
On 7 January 2022, O'Connor's son, Shane, died by suicide at the age of 17.[42] She subsequently decided to cancel her 2022 tour and her album No Veteran Dies Alone was postponed indefinitely.[105]
In February 2023, she shared a new version of "The Skye Boat Song", a 19th century Scottish adaptation of a 1782 Gaelic song, which is also the theme for the fantasy drama series Outlander.[106] The following month, she was awarded the inaugural Choice Music Prize Classic Irish Album by Irish broadcaster RTÉ for her 1990 album, I Do Not Want What I Haven't Got.[107][108]
Name
In 2017, O'Connor changed her legal name to Magda Davitt, saying in an interview that she wished to be "free of the patriarchal slave names. Free of the parental curses."[113][114] On her conversion to Islam in October 2018, she adopted the name 'Shuhada', and before mid-2019 also changed her surname from Davitt to Sadaqat.[115]
Personal and public image
Her shaved head has been seen as a statement against traditional views of femininity.[116]
Marriages and children
O'Connor had four children and was married and divorced four times. She had her first son, Jake, in 1987 with her first husband, music producer John Reynolds,[117] who co-produced several of her albums, including Universal Mother. Reynolds and O'Connor later married in Westminster register office in March 1989.[118][119] The same year, O'Connor had an abortion after things did not work out with the father. She later wrote the song "My Special Child" about the experience.[120] O'Connor and Reynolds announced their plan to divorce in November 1991 after being separated for some time.[121]
Soon after the birth of her daughter Brigidine Roisin Waters on 10 March 1996, O'Connor and the girl's father, Irish journalist John Waters, began a long custody battle that ended with O'Connor agreeing to let Roisin live in Dublin with Waters.[122][119][117] In August 2001, O'Connor married British journalist Nick Sommerlad in Wales; the marriage ended in July 2002 after 11 months.[123][117] She had her third child, son Shane, in 2004 with musician Donal Lunny.[117][119] In 2006, she had her fourth child, Yeshua Francis Neil Bonadio, whose father is Frank Bonadio.[124][125]
O'Connor was married a third time on 22 July 2010, to longtime friend and collaborator Steve Cooney,[4][126] and in late March 2011, made the decision to separate.[127] Her fourth marriage was to Irish therapist Barry Herridge. They wed on 9 December 2011, in Las Vegas, but their marriage ended after having "lived together for 7 days only".[128] The following week, on 3 January 2012, O'Connor issued a further string of internet comments to the effect that the couple had re-united.[5]
On 18 July 2015, her first grandson was born to her son Jake Reynolds and his girlfriend Lia.[129]
On 7 January 2022, two days after her 17-year-old son Shane was reported missing from Newbridge, County Kildare, he was found dead by suicide. His body was found by Gardaí in the Bray/Shankill part of Dublin.[130][131][132] O'Connor stated that her son, custody of whom she lost in 2013, had been on "suicide watch" at Tallaght Hospital, and had "ended his earthly struggle". O'Connor criticised the Health Service Executive (HSE) with regard to their handling of her son's case.[133][134][135] She initially criticised Ireland's family services agency, Tusla, but retracted this a few days later.[136][137] In January 2022, a week after her son's suicide, she was hospitalised on her own volition following a series of tweets in which she indicated she was going to take her own life.[138]
Relationship with Prince
Speaking about her relationship with Prince in an interview with Norwegian station NRK in November 2014 she said, "I did meet him a couple of times. We didn't get on at all. In fact we had a punch-up." She continued: "He summoned me to his house after 'Nothing Compares'. I made it without him. I'd never met him. He summoned me to his house – and it's foolish to do this to an Irish woman – he said he didn't like me saying bad words in interviews. So I told him to f*** off....He got quite violent. I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine."[139] In her 2021 memoir Rememberings, O'Connor described her meeting with Prince in detail, which ranged from having his butler serve soup repeatedly despite no desire for soup, to hitting her with a hard object placed in a pillowcase after wanting a pillow fight, and stalking her with his car after she left the mansion.[140]
Health
In the early 2000s, O'Connor revealed that she suffered from fibromyalgia. The pain and fatigue she experienced caused her to take a break from music from 2003 to 2005.[141]
On an episode of The Oprah Winfrey Show broadcast on 4 October 2007, O'Connor disclosed that she had been diagnosed with bipolar disorder four years earlier, and had attempted suicide on her 33rd birthday, 8 December 1999.[142] Then, on Oprah: Where Are They Now? of 9 February 2014, O'Connor said that she had received three "second opinions" and was told by all three that she was not bipolar.
O'Connor was also diagnosed with complex post-traumatic stress disorder and borderline personality disorder.[143]
In August 2015, she announced that she was to undergo a hysterectomy after suffering gynaecological problems for over three years.[144] O'Connor later blamed the hospital's refusal to administer hormonal replacement therapy after the operation as the main reason for her mental health issues in the subsequent years, stating "I was flung into surgical menopause. Hormones were everywhere. I became very suicidal. I was a basket case."[145]
Having smoked cannabis for 30 years, O'Connor went to a rehabilitation centre in 2016, to end her "addiction".[146] O'Connor was agoraphobic.[147]
In August 2017, O'Connor posted a 12-minute video on her Facebook page in which she stated that she had felt alone since losing custody of her 13-year-old son, Shane, and that for the prior two years she had wanted to kill herself, with only her doctor and psychiatrist "keeping her alive".[148] The month after her Facebook post, O'Connor appeared on the American television talk show Dr. Phil on the show's 16th season debut episode.[149] According to Dr. Phil, O'Connor wanted to do the interview because she wanted to "destigmatize mental illness", noting the prevalence of mental health issues among musicians.[150] Shane died in January 2022. A week later, following a series of tweets in which she indicated that she was going to kill herself, O'Connor was hospitalised.[151]
Sexuality
In a 2000 interview in Curve, O'Connor said that she was a lesbian.[152] She later retracted the statement, and in 2005 told Entertainment Weekly "I'm three-quarters heterosexual, a quarter gay".[153]
In 2013, O'Connor published an open letter on her own website to American singer and actress Miley Cyrus in which she warned Cyrus of the treatment of women in the music industry and stated that sexuality is a factor in this, which was in response to Cyrus's music video for her song "Wrecking Ball".[154] Cyrus responded by mocking O'Connor and alluding to her mental health problems.[155]
Politics
O'Connor was a vocal supporter of a united Ireland, and called on the left-wing republican Sinn Féin party to be "braver". In December 2014 it was reported O'Connor had joined Sinn Féin.[156] O'Connor called for the "demolition" of the Republic of Ireland and its replacement with a new, united country. She also called for key Sinn Féin politicians like Gerry Adams to step down because "they remind people of violence", referring to the Troubles.[157]
In a 2015 interview with the BBC, O'Connor said she wished that Ireland had remained under British rule (which ended after the Irish War of Independence, except for Northern Ireland), saying "the church took over and it was disastrous".[158] Following the Brexit referendum in 2016, O'Connor wrote on Facebook "Ireland is officially no longer owned by Britain".[159]
Religion
Sinéad O'Connor on After Dark on 21 January 1995
In January 1995, O'Connor made an unexpected appearance on the British late-night television programme After Dark during an episode about sexual abuse and the Catholic Church in Ireland.[160] The discussion included a Dominican friar and another representative of the Catholic Church, along with former taoiseach Garret FitzGerald. Host Helena Kennedy described the event: "Sinéad came on and argued that abuse in families was coded in by the church because it refused to accept the accounts of women and children."[161]
In the late 1990s, Bishop Michael Cox of the Irish Orthodox Catholic and Apostolic Church (an Independent Catholic group not in communion with the Roman Catholic Church) ordained O'Connor as a priest.[17] The Catholic Church considers the ordination of women to be invalid and asserts that a person attempting the sacrament of ordination upon a woman incurs excommunication.[17] The bishop had contacted her to offer ordination following her appearance on RTÉ's The Late Late Show, during which she told the presenter, Gay Byrne, that had she not been a singer she would have wished to have been a Catholic priest. After her ordination, she indicated that she wished to be called Mother Bernadette Mary.[17]
In a July 2007 interview with Christianity Today, O'Connor stated that she considered herself a Christian and that she believed in core Christian concepts about the Trinity and Jesus Christ. She said, "I think God saves everybody whether they want to be saved or not. So when we die, we're all going home ... I don't think God judges anybody. He loves everybody equally."[162] In an October 2002 interview, she credited her Christian faith in giving her the strength to live through and overcome the effects of her childhood abuse.[112]
On 26 March 2010, O'Connor appeared on CNN's Anderson Cooper 360° to speak out about the Catholic sexual abuse scandal in Ireland.[163] On 28 March 2010, she had an opinion piece published in the Sunday edition of The Washington Post in which she wrote about the scandal and her time in a Magdalene laundry as a teenager.[31] Writing for the Sunday Independent she labelled the Vatican as "a nest of devils" and called for the establishment of an "alternative church", opining that "Christ is being murdered by liars" in the Vatican.[164] Shortly after the election of Pope Francis, she said:[165][166]
Well, you know, I guess I wish everyone the best, and I don't know anything about the man, so I'm not going to rush to judge him on one thing or another, but I would say he has a scientifically impossible task, because all religions, but certainly the Catholic Church, is really a house built on sand, and it's drowning in a sea of conditional love, and therefore it can't survive, and actually the office of Pope itself is an anti-Christian office, the idea that Christ needs a representative is laughable and blasphemous at the same time, therefore it is a house built on sand, and we need to rescue God from religion, all religions, they've become a smokescreen that distracts people from the fact that there is a holy spirit, and when you study the Gospels you see the Christ character came to tell us that we only need to talk directly to God, we never needed Religion ...
Asked whether from her point of view, it is therefore irrelevant who is elected to be pope, O'Connor replied:
Genuinely I don't mean disrespect to Catholic people because I believe in Jesus Christ, I believe in the Holy Spirit, all of those, but I also believe in all of them, I don't think it cares if you call it Fred or Daisy, you know? Religion is a smokescreen, it has everybody talking to the wall. There is a Holy Spirit who can't intervene on our behalf unless we ask it. Religion has us talking to the wall. The Christ character tells us himself: you must only talk directly to the Father; you don't need intermediaries. We all thought we did, and that's ok, we're not bad people, but let's wake up ... God was there before religion; it's there [today] despite religion; it'll be there when religion is gone.[167]
Tatiana Kavelka wrote about O'Connor's later Christian work, describing it as "theologically charged yet unorthodox, oriented toward interfaith dialogue and those on the margins".[168]
In August 2018, via an open letter, she asked Pope Francis to excommunicate her as she had also asked Pope Benedict XVI and Pope John Paul II.[113]
In October 2018, O'Connor converted to Islam, calling it "the natural conclusion of any intelligent theologian's journey".[169] The ceremony was conducted in Ireland by Sunni Islamic theologian Shaykh Umar Al-Qadri. She also changed her name to Shuhada' Davitt. In a message on Twitter, she thanked fellow Muslims for their support and uploaded a video of herself reciting the adhan, the Islamic call to prayer. She also posted photos of herself wearing a hijab.[170]
After her conversion to Islam, O'Connor called those who were not Muslims "disgusting" and criticised Christian and Jewish theologians on Twitter in November 2018. She wrote: "What I'm about to say is something so racist I never thought my soul could ever feel it. But truly I never wanna spend time with white people again (if that's what non-muslims are called). Not for one moment, for any reason. They are disgusting."[171][172] Later that month, O'Connor stated that her remarks were made in an attempt to force Twitter to close down her account.[173] In September 2019, she apologised for the remarks, saying "They were not true at the time and they are not true now. I was triggered as a result of Islamophobia dumped on me. I apologize for hurt caused. That was one of many crazy tweets lord knows."[174]
Death
On 26 July 2023, O'Connor was found dead at her flat in Herne Hill, South London, at the age of 56 Her family issued a statement later the same day, without indicating the cause of her death.[108][177][178] The following day, the Metropolitan Police reported that O'Connor's death was not being treated as suspicious] On 28 July, the Coronor in London said that the date of death was still unknown.