View allAll Photos Tagged magicbox
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 50 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Écomusée d'Alsace • Ungersheim • Haut-Rhin • Alsace • France
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Aix-en-Provence • Bouches-du-Rhône • France
Bermeoko euskara sailak sortutako Geuk Eus kanpañe barruen "Miñen puntigaz" kantien grabasiñoko argazkijek.
The Chingay Parade (Chinese: 妆艺大游行; pinyin: Zhuāngyì Dàyóuxíng) is an annual street parade held in Singapore as part of Chinese New Year festivities. The term Chingay itself originated in Southeast Asia, particularly in Penang, Malaysia, which is a phonetic equivalent of the Chinese words "妆艺", which means "a decorated miniature stage" or float. Today, the parade has evolved into a massive multi-cultural and international event telecast live on television every year.
The Chingay Parade traces its origins to a float decorating competition held in Penang in 1905. This practice of float decoration spread to the rest of Malaya by the 1960s, and eventually became associated with the Chinese New Year.
On 4 February 1973, the first Chingay parade was held in Singapore, partly as a result of the ban on firecrackers a year earlier in 1972 as a result of fire hazards. This ban was viewed unfavourably despite the safety issues involved. Some people felt that the ban would result in a much dampened festival mood for the Chinese New Year period. To address this issue, the People's Association and the Singapore National Pugilistic Association jointly organised a street parade from Jalan Besar to Outram Park featuring the signature floats, acrobatic acts, lion and dragon dances, stilt walkers, and the like, to bring back some cheer to the general public.
The largely Chinese parade became a multi-cultural one from 1977 when Malay and Indian groups started joining in the performances, which was to mark a major precedent in the overall flavour of the parade into one which has become largely multi-cultural in character, despite the continued presence of traditional Chinese acts such as lion dances and stilt walkers till this day.
In 1985, the parade marched down Orchard Road for the first time, a move which was to prevail for much of the parade's subsequent history. Although the change could be attributed to the desire of organisers in bringing it closer to tourists along the major tourist belt and for ease of organisation on a relatively long and straight stretch of road, it also further signified the increasingly desinicized character of the parade. This is further evidenced when in 1987, an international flavour was added to the parade when a group from Japan participated for the first time with their float sponsored by The Straits Times.
The Chingay Parade became an evening-to-night parade in 1990, changing the overall feel of the parade towards one in which lights and pyrotechnics dominate. In 2000, the parade was shifted out of Orchard Road to the Civic District centering at City Hall, an area steep in Singaporean history and culture. Construction works at the City Hall area resulted in the parade marching through the streets of the Chinatown district for the first time. Faced with limited space for spectator stands and a much more complicated and winding route in these locations, however, the parade moved back to Orchard Road in 2004 along with an effort to introduce audience participation and involvement in the traditionally passive parade. Firecrackers were let off for the first time in the parade that year. Despite the authorities allowing the firecrackers to be let off under some safety procedures, it was decided that the Chingay be preserved. In 2008, the parade was once again held at City Hall, with the route lasting from the City Hall building to The Esplanade. For the 2009 parade, it was centralised around Parliament House with the performers going around the Padang and also featured a magical Grand Finale (MAGICBOX@Chingay 2009). That year was the also the first year that the telecast on television was delayed by one day. In 2010, the parade took place on part of the Formula One Marina Bay Street Circuit route.
Post-parade street parties have been held since 2004, with the exception of 2007.
From Wikipedia, the free encyclopedia
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Aix-en-Provence • Bouches-du-Rhône • France
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Aix-en-Provence • Bouches-du-Rhône • France
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 50 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Praha • Česko
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Mont Ventoux • Vaucluse • Provence • France
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Aix-en-Provence • Bouches-du-Rhône • France
Compleanno 1 anno di Magicbox di Teatro somebady. Prove di registrazione e backstage al Teatro Mina Mezzadri in via Santa Chiara
Brescia 27.02.2021 Ph Christian Penocchio
Norita 66 • Noritar 1:2 80mm
Agfachrome RSX II 100 expired film developed in Tetenal MagicBox E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Multi-Exposure Silverfast AI Studio 9
Belval • Luxembourg
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal MagicBox E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9
Rotterdam • Nederland
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Écomusée d'Alsace • Ungersheim • Haut-Rhin • Alsace • France
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 50 expired film developed in Tetenal MagicBox E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Praha • Česko
Bermeoko euskara sailak sortutako Geuk Eus kanpañe barruen "Miñen puntigaz" kantien grabasiñoko argazkijek.
Suzuki Optical Co. Press Van • Asahi Kogaku Takumar 1:3.5 F=75mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Aix-en-Provence • Bouches-du-Rhône • France
The Chingay Parade (Chinese: 妆艺大游行; pinyin: Zhuāngyì Dàyóuxíng) is an annual street parade held in Singapore as part of Chinese New Year festivities. The term Chingay itself originated in Southeast Asia, particularly in Penang, Malaysia, which is a phonetic equivalent of the Chinese words "妆艺", which means "a decorated miniature stage" or float. Today, the parade has evolved into a massive multi-cultural and international event telecast live on television every year.
The Chingay Parade traces its origins to a float decorating competition held in Penang in 1905. This practice of float decoration spread to the rest of Malaya by the 1960s, and eventually became associated with the Chinese New Year.
On 4 February 1973, the first Chingay parade was held in Singapore, partly as a result of the ban on firecrackers a year earlier in 1972 as a result of fire hazards. This ban was viewed unfavourably despite the safety issues involved. Some people felt that the ban would result in a much dampened festival mood for the Chinese New Year period. To address this issue, the People's Association and the Singapore National Pugilistic Association jointly organised a street parade from Jalan Besar to Outram Park featuring the signature floats, acrobatic acts, lion and dragon dances, stilt walkers, and the like, to bring back some cheer to the general public.
The largely Chinese parade became a multi-cultural one from 1977 when Malay and Indian groups started joining in the performances, which was to mark a major precedent in the overall flavour of the parade into one which has become largely multi-cultural in character, despite the continued presence of traditional Chinese acts such as lion dances and stilt walkers till this day.
In 1985, the parade marched down Orchard Road for the first time, a move which was to prevail for much of the parade's subsequent history. Although the change could be attributed to the desire of organisers in bringing it closer to tourists along the major tourist belt and for ease of organisation on a relatively long and straight stretch of road, it also further signified the increasingly desinicized character of the parade. This is further evidenced when in 1987, an international flavour was added to the parade when a group from Japan participated for the first time with their float sponsored by The Straits Times.
The Chingay Parade became an evening-to-night parade in 1990, changing the overall feel of the parade towards one in which lights and pyrotechnics dominate. In 2000, the parade was shifted out of Orchard Road to the Civic District centering at City Hall, an area steep in Singaporean history and culture. Construction works at the City Hall area resulted in the parade marching through the streets of the Chinatown district for the first time. Faced with limited space for spectator stands and a much more complicated and winding route in these locations, however, the parade moved back to Orchard Road in 2004 along with an effort to introduce audience participation and involvement in the traditionally passive parade. Firecrackers were let off for the first time in the parade that year. Despite the authorities allowing the firecrackers to be let off under some safety procedures, it was decided that the Chingay be preserved. In 2008, the parade was once again held at City Hall, with the route lasting from the City Hall building to The Esplanade. For the 2009 parade, it was centralised around Parliament House with the performers going around the Padang and also featured a magical Grand Finale (MAGICBOX@Chingay 2009). That year was the also the first year that the telecast on television was delayed by one day. In 2010, the parade took place on part of the Formula One Marina Bay Street Circuit route.
Post-parade street parties have been held since 2004, with the exception of 2007.
From Wikipedia, the free encyclopedia
*On Dungeness beach today.. The dark style..
'Magic box | variants'
Blogged - paddyhamiltonstudios.blogspot.co.uk/2014/05/magic-boxes-t...
*Reserved for Marc C. | @eyeseen
Meanwhile, a very special customer checks a new wand and Rupert has received a new book about witches and warlocks.
The Sator Square is a word square containing a Latin palindrome featuring the words SATOR AREPO TENET OPERA ROTAS written in a square so that they may be read top-to-bottom, bottom-to-top, left-to-right, and right-to-left. The earliest known appearance of the square was found in the ruins of Herculaneum." source: en.wikipedia.org/wiki/Sator_Arepo_Tenet_Opera _Rotas
Questa iscrizione si trova su una pietra della facciata di san Pietro ad Oratorium nel comune di Capestrano, una chiesa molto antica costruita anche usando materiale di recupero da costruzioni romane antiche
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 50 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Praha • Česko
I'll be out of my mind
and you'll be out of ideas pretty soon
Magic boxes...
Not just for looking pretty
So here's my attempt at a flying shot, and I thought I'd spice up what my room looks like and give it some muted tones so it doesn't shock the system against my beige pyjamas
Aside: sometimes I wish I had more space in my room. Then my limbs wouldn't be cut off in photos
benjaminschoos.bandcamp.com/album/night-music-love-songs
English:
Belgian-born Francophile Benjamin Schoos doesn't sleep much. Instead he spends his nights thumbing through novels in front of the black-and-white flicker of old science-fiction movies, swimming in the stillness and hush of a world outside momentarily calm. It was in this “nocturnal ambience”, as he calls it, that his latest selection of piano-led Parisian pop songs, each one like a slow kiss amid the madness of Belleville patisserie, came to him. 'Night Music, Love Songs', is Schoos' Third solo album, and the follow-up to 2014's remarkable 'Beau Futur' – an electronic fantasia of stories of stuntmen, astronauts and sun-soaked Italian villas. This latest charge into haunting synths and melodies that glisten and waver like street lights in the Seine strips back his sound of old to bare, affecting essentials – a lilting listen full of warm, misty-eyed romance that questions what it is to love someone. “It's a very particular feeling...” explains Schoos. “One that can move and shake you as much as it can make you suffer.”
“Both women and the night are muses of this album,” says the one-time Eurovision Song Contest representative for Belgium, but that's not where his inspiration ends. The glacial minimalism of Erik Satie influences parts of 'Night Songs, Love Music'; the pre- and post-war French chanson of Charles Trenet and Henri Salvador elsewhere. “Soft jazz and sunshine pop” were other factors in its making but one record in particular convinced him to forgo some of the wild-eyed stories of his previous records – 2012's 'China Man vs China Girl' was about a broken-down wrestler, based on an action figure his son owned – to confront the twin highs and lows of love. “I really love the Lewis album 'L’amour.' It convinced me you could make a record on this theme and evoke a dream in Paris.”
That dream takes Schoos – who memorably collaborated with Laetitia Sadier on the stirring 'Je Ne Vois Que Vous', earning him a place on the BBC 6 Music A-list – here through old Elka drum machine beats ('Un Fille En Or') and lush saxophone solos ('I Love You'). It takes him on 'Le Matire Du Monde' to a smoggy den of meanies (“I've always loved songs about bastards,” he says) and on 'Le Grand Paquebot Va Sombrer', translated in English to 'The Big Ship Is About To Sink', to a gorgeous moment of serious strangeness. “That track is about a guy who disguises himself as a woman to save his own skin on the Titanic, as women and children are the first people to be saved in case of emergency,” Schoos explains. “It starts as a transgender song and then we discover the fraud.”
Written and recorded in twilight hours at Schoos' studio – “a cabinet of curiosities,” he describes it, full of dusty string simulators and old echo and reverb tape recorders – ''Night Music, Love Songs'' has an impulsive heartbeat befitting a man who once did a journey in the footsteps of the famous Arthur Rimbaud, simply because he loved the Marseille man's surrealist poetry. “I began with improvisations. I start the rhythm box and add an improvised instrumental melody on the piano,” recalls the songwriter. “Once this basis is stable, I finally build my songs. I loved the minimalist sound my strange tools were producing. Finally, everything took shape once I added the lyrics – the last step in songwriting as I always favour melody.”
“It's an intimate album,” admits Schoos – maybe his most intimate yet. “It mixes delicate flavours of nostalgia with intense sentimental reverie... Nothing would please me more than people listening to this record while driving down a dark road around 2am. My previous albums dreamed about three-dimensional pop and constantly broke the tempo within the record. This one is more personal and belongs to the slow songs album tradition. I'm very proud of it. My songwriting and I have grown in this adventure.” It's an adventure, from the opening blooms of piano on its opening track, you'll quickly find yourself swept up in. “L'amour est la poesie des sens,” famously said the 19th century novelist Honoré de Balzac – “love is the poetry of the senses.” Let the stirring and seductive 'Night Music, Love Songs' ignite your senses this winter – you won't regret it.
French:
Benjamin Schoos. Il y a chez cet homme raisonné une folie qui s'ignore. Parlez-lui du nom de scène qui l’a fait connaître au grand public (Miam Monster Miam, 7 albums à son actif), lui répond par un changement d’identité et une carrière en solo. Dites-lui qu’il s’est assagi et le voilà qui lance un projet instrumental kraut-psych avec ses Loved Drones. Quant au virage chanson française, perceptible depuis China Man Vs China Girl (2012), il est amorcé alors que l’époque est à l’autotune, au rap Youtube et autres combats de rue où les chanteurs romantiques n’ont plus leur place. Il y a donc dans la discographie de ce Schoos de quoi désarçonner le plus aguerri des cavaliers. C’est comment qu’on schizo-freine ?
Parce que comme le disait le Cardinal de Retz « on ne sort de l’ambiguïté qu’à son détriment », Benjamin fonce tout Schoos et cultive l’amour des contraires là où tant d’autres sortent des disques contrariés. Fin d’un triptyque débuté en 2012 avec China Man Vs China Girl (2012) et Beau Futur (2014), Night Music, Love Songs possède au moins le mérite de la clarté : tout est dit dans le titre. Ecrit avec deux compagnons de solitude (Jacques Duvall et Dodi El Sherbini) et enregistré la nuit au studio Freaksville autour d’un piano, d’un orgue Hammond et d’une boite à rythme Elka Drummer One (celle utilisée par François de Roubaix), ce troisième essai en solo lève définitivement le voile sur les dessous chic du compositeur belge : musique nocturne et chansons d’amour en format cinémascope. Dans la veine des chansons lentes (on dit slow dans la langue de Joe Jackson) qui balisent depuis 50 ans l’histoire de la musique anglo-saxonne.
Sans masque, ni maquillage, les sept morceaux qui composent Night Music, Love Songs sonnent comme une réponse très premier degré au cynisme ambiant, et font de cet étrange objet du désir un parfait contrepoint, encore une fois, à l’époque. Gimmicks synthétiques évoquant la bande original d’Emmanuelle, arrangements dépouillés rappelant en filigrane le Sébastien Tellier sobre des débuts, costume de Frank Sinatra entonnant Un inconnu dans la nuit en franco-belge dans le texte ; on tient assurément un french crooner revisitant l’histoire de France, et dans laquelle quelques héros à voix perchées (Christophe, Polnareff ) ont su mieux que personne faire trembler la France d’avant les quotas.
« Sur le walk of fame, on est tous les mêmes » chante Schoos sur I love you, piste d’ouverture à écouter à l’horizontale, saxophone coincé dans l’entrejambe. Ce qui est évidemment vrai est aussi faux : personne ne ressemble à Benjamin Schoos. Sa nuit à lui, au moins, ne ment pas. On tient peut-être le disque de chevet d’une discographie à dormir debout.
credits
released January 29, 2016
"The grand gestures of Gainsbourg and Vannier loom large... these nocturnal romances still confirm French as the language of the impossibly glamorous."
Uncut 8/10
"Belgian-born Schoos embraces hushed reflection. Just the right time. Deep, dark, affecting"
MOJO ***
"His tracks paint the most vivid of pictures using words, once you’ve translated them of course, and sings with the same truth and valour about the romance in both life, love and death"
Gigsoup ****
"Prolifique et romantique, le songwriter belge publie un nouvel album bizarroîde"
Les Inrockuptibles ****
"Ambiance Christophienne, fleur à la boutonnière, yeux faits, fauteuils en velours et plus personne dans le salon du bateau fantôme". Technikart ****
"..en sept titres majestueux, on se rend à l'évidence: avec son piano blanc, sa boite à rythmes et ses vieilles machines, il parvient à émouvoir, d'abord, puis à instaurer une ambiance racée sans discontinuer, verbe agile à l'appui, ensuite."
Muzzart
"Benjamin Schoos s’est littéralement métamorphosé. En artiste accompli, en musicien sobre, toujours exigeant. En grand ordonnateur d’une musique adulte, sérieuse, pénétrante mais encore rafraîchissante. Comme un dernier cocktail sur le pont du navire avant qu’il ne tutoie je ne sais quel glacier imminent. Qu’il ne disparaisse et fasse place à un autre chef-d’œuvre. Car celui-là en est un."
Shebam Blog Pop Wizz
"Principalement synthétiques, ces chansons romantiques et vespérales sont nées de l'amour du Wallon pour les claviers hors d'âge et les boîtes à rythmes vintage, et enrichies de quelques instruments discrets (flûte, orgue Hammond, violoncelle, bugle, trompette."
Magic rpm ****
"C’est son côté crooner sérieux et authentique que laisse parler ici Benjamin qui, sans difficulté, parvient à nous émouvoir."
Le Mad (Le Soir)
"En s’affranchissant de guitares, basses et batteries parfois un peu poussives, il laisse ainsi se sublimer d’elles-mêmes quelques magnifiques lignes de piano, plusieurs envolées de cordes et autres échappées belles de cuivres. C’est doux. Parfois un peu trouble. Mais c’est beau. Très beau, même."
Idoles Mag
"37 Minuten großes Nacht-Kino."
Sound and Image
"...Ces love songs crépusculaires et langoureuses, réunies dans un album bouleversant et sublime de bout en bout. De la très haute couture, Monsieur Schoos !"
Benzine Mag
"Un album court mais intense, aux confins de l’intimité et capable de nous faire passer par toutes les couleurs. Sept titres pour au moins mille émotions."
Branchesculture
"...Un disque de Crooning nocturne mise en mots par Jacques Duvall. Tender is The Night"
Focus Vif
"Un album mélodieux aux nuances délicates orchestrées de main de maître (du monde)."
La magicbox
"Il nous offre un album de Dandy du crépuscule au romantisme à la fois plastique et éthéré."
Metro
—
Photography : Pascal Schyns.
Sleeve design : Scalp.
—
Catalog number : FRVM74
Catalog number CD : FRVR55
Catalog number Vinyl LP : FRVR55
℗ Freaksville Publishing 2015
© Freaksville Publishing 2016
Noblex 06/150 Pro • Tessar 1:4.5 50mm
Agfachrome RSX II 100 expired film developed in Tetenal Magic-Box E-6
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio 9.2
Écomusée d'Alsace • Ungersheim • Haut-Rhin • Alsace • France
The Chingay Paradet
The Chingay Parade is an annual street parade held in Penang, Malaysia in celebration with the birthdays of the Chinese deities or the procession of the Goddess of Mercy ( Guanyin ),and inSingapore[1] as part of the Chinese New Year festivities. The term Chingay itself originated in Southeast Asia, which is a phonetic equivalent of both the Chinese words "真艺" which means "true art" in the Penang version, and "妆艺", which means "a decorated miniature stage" or float in the Singapore version.
Origin
Chingay procession was held in celebration with the birthdays of the Chinese deities or the procession of the Goddess of Mercy ( Guanyin ).[2] It was held to worship and enjoy with the deity. During the earliest procession in more than 100 years ago, the earliest English newspapers Echo in Malaysia adopted the word Chingay Procession for this special event.[3]
Chingay is originated from China, and the Penang Chinese first performed Chingay during deity processions.[4] It is a street art where the performer balances a giant flag that ranges from 25 ft to 32 ft in height and about 60 pounds in weigh.
Chingay in Singapore
On 4 February 1973, the first Singapore Chingay parade was held partly as a result of the ban on firecrackers a year earlier in 1972 as a result of fire hazards. This ban was viewed unfavourably despite the safety issues involved. Some people felt that the ban would result in a much dampened festival mood for the Chinese New Year period. To address this issue, the People's Association and the Singapore National Pugilistic Association jointly organised a street parade from Jalan Besar to Outram Park featuring the signature floats, acrobatic acts, lion and dragon dances, stilt walkers, and the like, to bring back some cheer to the general public.
The largely Chinese parade became a multi-cultural one from 1977 when Malay and Indian groups started joining in the performances, which was to mark a major precedent in the overall flavour of the parade into one which has become largely multi-cultural in character, despite the continued presence of traditional Chinese acts such as lion dances and stilt walkers till this day.
In 1985, the parade marched down Orchard Road for the first time, a move which was to prevail for much of the parade's subsequent history. Although the change could be attributed to the desire of organisers in bringing it closer to tourists along the major tourist belt and for ease of organisation on a relatively long and straight stretch of road, it also further signified the increasingly desinicized character of the parade. This is further evidenced when in 1987, an international flavour was added to the parade when a group from Japan participated for the first time with their float sponsored by The Straits Times.
The Chingay Parade became an evening-to-night parade in 1990, changing the overall feel of the parade towards one in which lights and pyrotechnics dominate. In 2000, the parade was shifted out of Orchard Road to the Civic District centering at City Hall, an area steeped in Singaporean history and culture. Construction works at the City Hall area resulted in the parade marching through the streets of the Chinatown district for the first time. Faced with limited space for spectator stands and a much more complicated and winding route in these locations, however, the parade moved back to Orchard Road in 2004 along with an effort to introduce audience participation and involvement in the traditionally passive parade. Firecrackers were let off for the first time in the parade that year. Despite the authorities allowing the firecrackers to be let off under some safety procedures, it was decided that the Chingay be preserved. In 2008, the parade was once again held at City Hall, with the route lasting from the City Hall building to The Esplanade. For the 2009 parade, it was centralised around Parliament House with the performers going around the Padang and also featured a magical Grand Finale (MAGICBOX@Chingay 2009). That year was the also the first year that the telecast on television was delayed by one day. In 2010, the parade took place on part of the Formula One Marina Bay Street Circuit route.
Post-parade street parties have been held since 2004, with the exception of 2007. An estimated 150,000 spectators attended the 2009 Chingay Parade on February 1. One million Singaporeans watched the parade on television and another 16.3 million homes and hotels across Asia received the television broadcast through Channel NewsAsia.
The 2011 Chingay Parade will be held on 11 and 12 February. It will open with a Fire Party, and will include the largest moving multi-ethnic performances, first travelling dance competition within the parade, a spectacular finale where thousands of performers will flood the parade ground holding candle lights and an inaugural colourful Arts District/ Carnival.[7] It also includes activities in which the public can participate, such as the Teresa Teng Look-Alike Photo Contest[8] and the Chingay Paparazzi competition.
& iFolio
Collage digital elaborado sobre un fondo sepia de NinianLif, con elementos de mi estimado tio Galileo Galilei y del gran pintor surrealista Mark Bryan.
Si tuviera que ponerle musica para obtener un contraste mas o menos decente con las bellas notas del "libiamo" de la Traviata, esta seria un trozo selecto del bonito huapango inedito "Viva el mole", del laureado musico de Nadadores, Coahuila, don Pomponio Galavis (que mas en gloria habria de estar si se trasladaran sus restos al Panteon de los hombres ilustres de Saltillo.
Bueno, aunque en ese lugar no estan todos los que son, ni son todos los que estan, mas algun pillo saltillense colocado (colado) alli hace unos años.
English
3D model of an A-Mazing Box 3D printed on a ZPrinter. Image is taken with a PackshotCreator photo studio by Creative Tools AB.
Swedish
3D-modell av en ask med labyrintlås (A-Mazing Box) 3D-utskriven på en ZPrinter. Bilden är fotograferad med en PackshotCreator fotostudio av Creative Tools AB.
For... reasons, 2020 was the year of Arcee, that lovable female Autobot that most of G1ers are familiar with. There was the recently released MP, the unofficial Nicee, and now, Magic Box Peach Girl.
A dainty little thing, measuring around 4 inches in robot mode, "Peach Girl" is an articulated figure, with a vibe that reminds of what Choro-Q might have been had Takara marketed it towards the more hardcore collector crowd.
The figure was around $40 USD from a store overseas, shipping included. Not too many accessories, just a gun and a dagger/sword.
While Nicee was ironically going for the naughty look, Peach Girl is going for the nice. Cute aesthetic including those much adored Super Deformed proportions. Same experience you'd have if you have a toddler... except one that listens to you and can turn into a car. Peach Girl has the added bonus of actually looking like Arcee - not that it's a huge selling point or anything for me, but I mention it because I remember several Nicee patrons complaining how they couldn't go forward with the purchase because it no longer had the Arcee head.
*sigh*.
Articulation wise, Peach Girl is packing some good stuff. Before I forget, she actually ankle spurs that help her stay standing... completely missed those and as you might have guessed, they were never referenced in the instructions. She's got ankle side tilts, single jointed knees, hips with thigh swivel, mid torso rotate with some ability to tilt up, ball jointed shoulders with "shrugging" capabilities, bicep swiivel, single jointed elbows, wrist rotation, neck tilt and head rotate.
Not a bad package for such a little figure, though as always, the extra articulations is brought to you by the transformation. Pretty much all you'd want in a typical figure is here, with the exception of a waist... oh, and I guess forward tilting ankles too.
Paint wise, there isn't really a whole lot to write about. It's mostly coloured plastic, though at least it's nice coloured plastic. Paint apps are alright. They're clean and evenly applied, with some minute masking errors. Nothing that would immediately be drawn to your eye. The colours chosen are generally bright and lively, which matches the tone of this figure nicely.
Build quality is always a key factor when discussing tranforming toys and, well, it's generally hit with some misses. You're generally alright in robot mod. There's no issues with limb lengths, joint strength, material choices. QC on assembly gaps is not bad, and finishes are at least on par with the newer Hasbro stuff. The gun's handle is a tad too big and doesn't want to fit into either fist whereas the knife/sword fit in perfectly.
Much like the Hasbro stuff, however, any inherent issues with build come out in vehicle mode. First, a quick blurb about the transformation - it's super fun. You can probably tell from the photos, but this is an Arcee-esque vehicle mode as opposed to the more overtly Arcee that Nicee gunned for. That's because half of her transformation involves you stuffing Peach Girl into her head cavity.
So as I was saying transformation is pretty neat, unfolding parts of her head then having the car shell appear around her, and is relatively simple. Tabbing parts together isn't as flawless as I'd like, though accomplishable. Also, positioning of the wheels is finicky, as if they're not just right they won't spin. It IS really neat, however, that Peach Girl's earmuffs become wheels. There's spots for the weapons in vehicle mode as well.
Overall, not bad. Not perfect, but it holds and plays just as well as your typical mainline release. It's a third party figure that I don't need to worry too much about its fragility, and it's an Arcee to boot.
A neat toy with loads of personality.