View allAll Photos Tagged nonexistent
Sooo I forgot to post this yesterday! Oops! Actually, I kind of forgot a lot of things yesterday, like taking this picture... and about 40 other pictures of just my eye alone. I don't know what the thinking was behind that.
We went out to celebrate with a bunch of people because one of our friends found out that she's going to be able to keep her job. I remember my first three drinks and everything else after that was a blur... or more like nonexistent. I'm pretty sure my liver hates me. This morning was rough.
We got off our coach (after a mornings tour around Seville) and headed for the Alcazar! We didn't go on the boat trip, so we followed the tour guide towards the Cathedral, before we made our own way to the Alcazar.
Near Calle Santander.
On Calle Adolfo Rodriguez Jurado. Near Av de la Constitucion. Corner of Calle Joaquin Hazanas.
The Colosseum Spain, has become an icon in the new Constitution Avenue. The building has gone through many experiences throughout its history, some speak of monumentality and glamor, others neglect and contempt.
The roaring twenties, led to the arrival of new services Sevilla hitherto nonexistent, and many public and private buildings, hotels, fire stations, train stations and of course, cinemas and theaters arise. This was done the Teatro Coliseo Cinema Spain, a building that would house something as modern as the film, but without forgetting the Sevillian touch. The film would not get a plot in the Seville and Andalusian architecture well into the thirties, where Deco architecture was chosen.
Currently used as offices of the Board of Andalucia
found these on a junk drive,
old contact sheets like a drunken melancholia
It could be you
It could be me
Working the door
Drinking for free
Carrying on with your conspiracies
Filling the room with a sense of unease
Fake conversations on a nonexistent telephone
Like the words of a man who's spent a little too much time alone
When one has spent too much time alone
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
More than 20,000 people participated in this morning's rally. A demonstration of this size has never been seen before in Nice, which shows how deeply the event has affected the population. However, Arab participation was next to nonexistent. An indication of the difficult reality in this region.
This year was a dry one in California. The rains came early, back in December, and then not a drop of rain fell in January or February. Consequently, the Spring flower blossoms were sparse, though not nonexistent. These Desert Globemallows were present here and there, and stood out against an otherwise monochrome landscape in Death Valley.
Opus: Sarajevo City of Light,
SARAJEVO Gateway of Hell, BOSNIA in Tragic WAR,
POETIC Beauty and Strength of the Human Spirit,
“The Siege of Sarajevo was the longest siege of a capital city in the history of modern warfare. After being initially besieged by the forces of the Yugoslav People's Army, Sarajevo, the capital of Bosnia and Herzegovina, was besieged by the Army of Serbian from 5 April 1992 to 29 February 1996 (1,425 days) during the Bosnian War. The siege lasted three times longer than the Battle of Stalingrad and more than a year longer than the Siege of Leningrad.” _ W
During the years of terror cast upon Bosnia and my city of Sarajevo, photography remained my only medium of artistic expression. My painting conditions were nonexistent, (shortage of materials, time, and peace). My photographs were captured while walking between steps. Each step representing life or death… In this town of sorrows, agony surrounded by walls of hatred and evil, I encountered the most extraordinary beings in this world. They are genuine people, without hatred; people who survive inside the walls of a besieged city, without electricity, fuel, food, water, etc. Sarajevo became the massacred city where every new day is awaited as a miracle; awaited with patience and disbelief that you are still alive. There was a light that continued to glow from this destroyed city and its people; they had not lost their spirit. Exhibitions and concerts were still being attended by people who shed the tears of happiness, knowing that they couldn’t kill the art. A horrifying beauty was born.
Exploring light at edge of shadow. Light and darkness counterpoints, Chiaroscuro.
Observation of physical and psychological reality,
Acutely observed realism brought a new level of emotional intensity,
Strong, dramatic expression,
Perception beyond Appearances, Symbolism, POETIC Trans Realism;
"There the sun doesn’t shine, or the moon, or the stars, nor any earthly fire,
In Its light, invisible; in a secret place,
In the heart It resides."
In late 1815 and early 1816, the Lafitte brothers agreed to act as spies for Spain, which was in the midst of the Mexican War of Independence. The brothers were collectively known as "Number thirteen". Pierre would keep the Spanish informed of happenings in New Orleans, and Jean was sent to Galveston Island, a part of Spanish Texas that served as the home base of privateer Louis-Michel Aury, who claimed to be a Mexican revolutionary.[57] By early 1817, other revolutionaries had begun to congregate at Galveston, hoping to make it their base to wrest Mexico from Spanish control. Lafitte visited in March 1817.[58] Two weeks into his stay, the two leaders of the revolutionaries left the island. The following day, Lafitte took command of the island and appointed his own officers. On April 18, he sailed for New Orleans to report his activities.[59] With Spanish permission, Lafitte returned to Galveston, promising to make weekly reports of the activities there.[60]
Lafitte's motives were not selfless; he essentially turned Galveston Island into a new Barataria. Like Barataria, Galveston was a seaward island that protected a large inland bay. It had the advantage of being outside the authority of the United States, and it was largely uninhabited, except by Karankawas.[61]
Lafitte quickly began improving his new colony. Existing houses were torn down, and 200 new, sturdier buildings were constructed.[62] Ships operating from Galveston flew the flag of Mexico, but they engaged in no revolutionary activities, as Lafitte worried about a potential Spanish invasion.[63] Aury returned to Galveston several months later, but left in July when he realized that the men were unwilling to revolt.[64]
In less than a year, Lafitte's colony grew to 100–200 men and several women.[65] All newcomers were personally interviewed by Lafitte and required to take an oath of loyalty to him. The headquarters of the operation was a two-story building facing the inland harbor, where landings were made. The building was surrounded by a moat and painted red; it became known as Maison Rouge. Most regular business was conducted aboard Lafitte's ship, The Pride, where he also lived.[66] Lafitte created letters of marque from a nonexistent nation for all of the ships sailing from Galveston. These letters gave the ships permission to attack ships from all nations.[67]
In April 1818, the United States passed a law prohibiting the import of slaves into any port in the United States. The law left several loopholes, however. It essentially gave permission to any ship to capture a slave ship, regardless of the country from which it originated. Furthermore, any newly imported slaves who were turned over to the customs office would be sold within the United States, with half the profits of the sale going to the people who turned them in. Lafitte worked with several smugglers, including Jim Bowie, to profit from the poorly written law. Lafitte's men would target ships that carried slaves. Smugglers would purchase the slaves for a discounted price, march them to Louisiana, and turn them in to customs officials. A representative of the smuggler would purchase the slaves at the ensuing auction, and the smuggler would be given half of the purchase price. The smuggler was then the lawful owner of the slaves and could transport them to sell in other parts of the United States.[68]
The colony experienced hardships in 1818. After a Karankawa woman was kidnapped, the Indian tribe attacked and killed five members of Lafitte's colony. The corsairs aimed the artillery at the Indians, killing most of the men in the tribe. A hurricane in September covered almost all of the island in water, killing several people and destroying four ships and most buildings. Only six homes were habitable afterwards.[69]
Around 1820, Lafitte reportedly married Madeline Regaud, possibly the widow or daughter of a French colonist who had died during an ill-fated expedition to Galveston. In 1821, the schooner USS Enterprise was sent to Galveston to remove Lafitte from the Gulf after one of the pirate's captains attacked an American merchant ship. Lafitte agreed to leave the island without a fight, and in 1821 or 1822 departed on his flagship, the Pride, burning his fortress and settlements and reportedly taking immense amounts of treasure with him. All that remains of Maison Rouge is the foundation, located at 1417 Avenue A near the Galveston wharf.
-Wikipedia
I'm gobsmacked by several things here. First, the light was nonexistent. Yet the Sony A7RII performed extremely well at incredibly high ISO. Second, using knowledge developed around a digital Zone System, I knew precisely where I wanted the tonal values and was able to place them accordingly. Third, I am happy to confirm the dynamic range of the sensor extends usefully to below Zone 0 (Zone -2!), even at such high ISO settings. Fourth, 1950s German optics can do the trick. These images were made using a triplet wide angle. Who would design such a thing and make it work? Micro-contrast is something to be seen, otherwise you wouldn't believe it.
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
Starring Richard Garland, Pamela Duncan, Russell Johnson, Leslie Bradley, Mel Welles, and Ed Nelson. Directed by Roger Corman.
ATTACK OF THE CRAB MONSTERS is one of a handful of B films that Roger Corman did for Allied Artists when he wasn't churning 'em out for Nicholson and Arkoff at AIP. It also happens to be one of his most beloved 50s monster efforts. Frequent collaborator Charles Griffith concocted the script and strays from the abundant humor present in LITTLE SHOP OF HORRORS and CREATURE FROM THE HAUNTED SEA, playing it straight this time (that is if you can accept a giant talking crab as serious). Griffith also appears in the film (he gets decapitated early on) and directed some underwater scenes.
A group of scientists find themselves marooned on a nuclear-affected atoll in the Pacific where they have come searching for members of a previous expedition. After doing some research, they learn that the other scientists were eaten by giant mutated land crabs, and that these creatures have also absorbed their minds. The menacing crustaceans begin to snack on this new set of guests, using telepathy (articulating with the voices of the person they just devoured) in order to summon their next victim.
Like all of the early Corman films, this was made on shoestring but was reportedly his highest grosser up until that time. It's a tight 60+ minute effort with very little time for chat, and the giant crabs don't look too bad at all in comparison with other 50s sleaze creatures. The film boasts a classic Corman stock ensemble: Richard Garland (PANIC IN YEAR ZERO) and Pamela Duncan (THE UNDEAD) are the heroic love interests, the vastly underrated Russell Johnson (still years away from "Gilligan's Island") is a life-saving technician, Mel Welles and Leslie Bradley are scientists with accents (you haven't lived until you've heard a giant crab speak with Welles' Mushnik persona, and Beach Dickerson and Ed Nelson are in there as well. Nelson also operated the crab and legend has it that Jack Nicholson did as well!
ATTACK OF THE CRAB MONSTERS has been released on DVD by Allied Artists Classics, a company whose legitimacy is still in question. Previously released on VHS, they utilize the same substandard transfer and it fairs no better on the digital format. The full frame black and white image is looks generations down in quality, with nonexistent black levels and video tape dropouts during the start of the show. The print source is in decent shape, but the overall appearance is dark and dingy. Sound quality is OK, if you can get past some hiss. This would be fine if this was an under-$10 budget release, but this baby retails for about $25! If you're willing to shell out the bucks, the quality is acceptable and this title is essential to any 50s monster movie buff's collection. Also included is the original trailer and a still gallery
A group of scientists travel to a remote island to study the effects of nuclear weapons tests, only to get stranded when their airplane explodes. The team soon discovers that the island has been taken over by crabs that have mutated into enormous, intelligent monsters. To add to their problems, the island is slowly sinking into the ocean. Will any of them manage to escape?
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
The Road-Runner and Wile E. Coyote make an appearance on this panoramic exhibit amid the dereliction of the former NSA Listening Station. Much of the complex is a health and safety nightmare, with rusting ladders and nonexistent safety barriers despite its height being at a prominence of several hundred feet. A wry comment is delivered by the artist who incorporated the phrase "Gravity Lessons" into his mural.
This ship is my favorite out of my physical collection. Its just the rights size for play while still having enough detail for display and has an interior. Said interior is based of the cross section book for the force awakens. There is a single bed and nothing else. I wish that the bed could be moved over though, as it is taking up quite a bit a space.
Problems:
the rear door is invisible
the rear wings are not all the way at the end of the ship
there are no front wings
the cockpit is nonexistent
Vernon, FL
Holmes Creek begins near the Alabama–Florida line, northeast of the town of Bonifay. It is a tiny, unnavigable stream until 2 miles above Vernon, where the input from Beckton and Cypress springs enlarges it into a canoeable waterway. Except in periods of heavy rainfall, Holmes Creek tends to be clear and green. There is a wide variety of trees and the colorful reflections of many different hues of leaves and foliage in the clear water makes this a photogenic stream. Beginning and ending in areas of high banks, the middle part of the Holmes Creek Canoe Trail runs through swamps characterized by many sloughs and bayous. Paddling into these can also provide an interesting experience. There are several small springs and creeks that feed Holmes Creek. Trees along the banks and in the swamps include pine, a variety of oaks, magnolia, cypress, maple, sweet and black gums, and a number of others indigenous to north Florida. Alligators can be observed as well as turtles, raccoons, otters, and skunks. This stream is well known for good fishing in all seasons. Holmes Creek has a low gradient and a lazy to almost nonexistent current. There are a few scattered houses on the higher banks, but overall the atmosphere is one of remoteness. It is a very pretty creek, easy to paddle, and offers good access. It makes an excellent one-day trip and would be pleasant for a leisurely overnight trip, even though campsites are somewhat scarce.
HDR and Orton
Day One, August 19, 2008: Paddling time: 3 hours 38 minutes. Trip Length: 14.3 km.
After a pleasant drive from Toronto and traditional lunch in the Hungry Bear Restaurant on highway 69, we drove to Hartley Bay House & Marina. The main office is located just meters from train tracks—there are a lot of trains passing through, almost all freight trains, but none stops there. After getting park permits, renting a canoe, unloading our car and having it parked (yes, this place does provide a valet service!), we loaded our canoe and commenced our journey. The weather was nice and the wind barely noticeable. Once we reached Wanapitei Bay, we headed south and turned right into the Western Channel. To our right we passed Atwood Island, Dead Dog Island, Little Pig Island and finally paddled in the channel between King’s Island and Pig Island. There were a couple of campsites available, but since our plan was to stay on the same campsite for three nights, we hoped to get something more scenic. Eventually, we entered into a nice bay between Pig Island, King’s Island and Dispute Islands, with a spectacular rock that resembled the famous Mazinaw Rock at Bon Echo Provincial Park. According to the map (and my reliable GPS) site # 703 (N46 01 12.0 W80 54 17.8) was supposed to be located just opposite the rock. Well, a camping site was there, all right, but we could not see any ‘official’ sign. Eventually we decided to disembark and check the site out. It was quite rocky, with many fallen trees and even an attached ‘washroom’ marker. As it turned out, the campsite sign was affixed to a tree—which had apparently been felled by strong winds. In no time we had the tent up and fire going. In the evening took the canoe and went fishing; in less than one hour managed to catch a pike, which we grilled over the fire, as well as I caught a catfish later on (it took me at least 30 minutes to clean & skin it, but it made excellent breakfast next day!). Just in case, we hanged our food on a rope spread between two trees, yet we never had problems with any animals, be it black bears or raccoons. Amazingly, mosquitoes were almost nonexistent. Now and then we saw a motorboat, but they were quite far from us. There were other campers staying on campsite # 702, just across the channel (700 m. from us) as we saw their faint campfire at night.
I went out with Matty to shoot some photos for an interview. We wanted to do something different, so we tried to incorporate Matty's love of the outdoors and his creativity into skating nonexistent "spots". We found this pile of concrete rubble and rigged up a super sketchy landing.
Pick your favorite angle.
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
Picture taken 1987 during my 5-month-trip around the world - digitally captured from paper print. Sorry for the bad quality.
I have uploaded a lot of my digitally captured photos, which I took since 2004. But the most interesting journeys I did between 1979 and 2004! Those photos are on slide.
__________________________________________
Bora Bora (French: Bora-Bora, Tahitian: Pora Pora) is a 30.55 km2 island group in the Leeward group in the western part of the Society Islands of French Polynesia, an overseas collectivity of France in the Pacific Ocean. The main island, located about 230 kilometres northwest of Papeete, is surrounded by a lagoon and a barrier reef. In the center of the island are the remnants of an extinct volcano rising to two peaks, Mount Pahia and Mount Otemanu, the highest point at 727 metres.
Bora Bora is a major international tourist destination, famous for its aqua-centric luxury resorts. The major settlement, Vaitape, is on the western side of the main island, opposite the main channel into the lagoon. Produce of the island is mostly limited to what can be obtained from the sea and the plentiful coconut trees, which were historically of economic importance for copra.
DEMOGRAPHICS
As of 2017, the Bora Bora group has a permanent population of 10,605.
NAME
In ancient times the island was called "Pora pora mai te pora", meaning "created by the gods" in the local Tahitian dialect. This was often abbreviated Pora Pora meaning simply "first born". Because of ambiguities in the phonemes of the Tahitian language, this could also be pronounced Bola Bola or Bora Bora. When explorer Jacob Roggeveen first landed on the island, he and his crew adopted the name Bora Bora which has stood ever since.
HISTORY
The island was inhabited by Polynesian settlers around the 4th century C.E.[citation needed] The first European sighting was made by Jakob Roggeveen in 1722.
James Cook sighted the island on 29 July 1769, using a Tahitian navigator, Tupaia. The London Missionary Society arrived in 1820 and founded a Protestant church in 1890. Bora Bora was an independent kingdom until 1888 when its last queen Teriimaevarua III was forced to abdicate by the French who annexed the island as a colony.
WORLD WAR II
In World War II the United States chose Bora Bora as a South Pacific military supply base, and an oil depot, airstrip, seaplane base, and defensive fortifications were constructed. Known as "Operation Bobcat", it maintained a supply force of nine ships, 20,000 tons of equipment and nearly 7,000 men.
At least eight 7"/44 caliber guns, operated by elements of the 13th Coast Artillery Regiment (later the 276th Coast Artillery Battalion), were set up at strategic points around the island to protect it against potential military attack. Eight of these guns remain in the area.
However, the island saw no combat as the American presence on Bora Bora went uncontested over the course of the war. The base was officially closed on 2 June 1946. The World War II airstrip was never able to accommodate large aircraft, but it nonetheless was French Polynesia's only international airport until Faa'a International Airport opened next to Papeete, Tahiti, in 1960.
ADMINISTRATION
The commune of Bora-Bora is made up of the island of Bora Bora proper with its surrounding islets emerging from the coral reef, 29.3 km2 in total. The surrounding islets include Motu Tapu, Motu Ahuna, Tevairoa, Motu Tane, Motu Mute, Motu Tufari, Motu Tehotu, Motu Pitiaau, Sofitel Motu, Motu Toopua, and Toopuaiti. The commune also includes the Tūpai atoll. (11 km2), located 20 kilometres north of Bora Bora. The atoll of Tūpai has no permanent population apart from about 50 workers in the coconut plantations.
The commune is an administrative subdivision of the Leeward Islands and consists of three associated communes: Anau, Faanui and Vaitape. The administrative centre of the commune is the settlement of Vaitape, on the island of Bora Bora proper. Gaston Tong Sang is the Mayor of the commune of Bora-Bora, serving since 1989.
TOURISM
The island's economy is driven almost solely by tourism. Several resorts have been built on motu (small islands, from Tahitian) surrounding the lagoon. Hotel Bora Bora opened in 1961, and nine years later built the first over-the-water bungalows on stilts over the lagoon. Today, over-water bungalows are a standard feature of most Bora Bora resorts. The quality of those bungalows ranges from comparably cheap, basic accommodations to very luxurious and expensive places to stay.
Most of the tourist destinations are aqua-centric; however it is possible to visit attractions on land such as WWII cannons. Air Tahiti has five or six flights daily to the Bora Bora Airport on Motu Mute from Tahiti (as well as from other islands). Public transport on the island is nonexistent so rental cars and bicycles are the recommended methods of transport. There are also small, two-seater buggies for hire in Vaitape. It is possible to rent a motorboat to explore the lagoon.
Snorkeling and scuba diving in and around the lagoon of Bora Bora are popular activities. Many species of sharks and rays inhabit the surrounding body of water. There are a few dive operators on the island offering manta ray dives and also shark-feeding dives. Sharks living in the island's lagoon are not considered to be dangerous to people.[citation needed]
In addition to the existing islands of Bora Bora, the new manmade motu of Motu Marfo has been added in the northeastern corner of the lagoon on the property of the St. Regis Resort.
WIKIPEDIA
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
Well, actually, it was shining brightly in the morning, and the frost was ...nonexistent
Happy Christmas to you all :)
Spaceship Earth, the iconic and symbolic structure of Epcot, opened with the park in Future World in 1982. The 18-story, 180-foot tall geosphere, whose design was conceived by Wallace Floyd Design Group and completed by Simpson Gumpertz & Heger Inc., is derived from the Class 2 geodesic polyhedron.
Each face of the polyhedron is divided into three isosceles triangles to form each point—with, in theory, 11,520 triangles forming 3,840 points (some are nonexistent due to supports and doors). The 15,520,000 pound sphere, with a circumference of 518.1 feet and a diameter of 165 feet, is raised 18-feet off the ground by three pylons sunk more than 120-feet into the ground.
Inside the sphere, guests take a 15-minute dark Omnimover ride in a "time machine" to learn how advancements in communication have helped create the future. Narrators have included Lawrence Dobkin, Walter Cronkite, Jeremy Irons and now Dame Judi Dench.
I don’t normally seek/acquire patches, emblems, decals, etc., but this one was so cool, obscure, unique, pleasantly ‘asymmetrical’…and affordable, that I had to get it. And it’s big…~7.5 inches in diameter! I assume once worn on the back of an employee’s work coveralls.
I’m tempted to gently wash it, but don’t dare.
As expected, something/anything pertaining to this patch’s origin & history, let alone any specifics regarding “Apollo Spaceborne Products” are nonexistent. Even information about Autonetics and its contributions to the Apollo Program are vague & generic. As such, my date range is a total SWAG.
Some of what little there is:
“Autonetics was a division of North American Aviation that designed and built guidance and navigation systems for the Apollo program, including the Apollo spacecraft. As a leader in precision electronics and instruments like gyroscopes, Autonetics' expertise was crucial for reliably guiding spacecraft on their complex lunar missions.”
Above per Google’s AI-generated response to my “Autonetics” query.
Additionally, from Boeing’s Autonetics Memorial/Monument “brochure/flyer”:
“…innovations provided the systems that the Apollo astronauts used to determine the exact position of the lunar module during rendezvous and docking.”
And:
“Autonetics also contributed to space exploration, including rendezvous and docking systems for Apollo…”
At/From:
bos.ocgov.com/legacy3/newsletters/pdf/Honoring_the_Legacy...
Credit: Orange County website
Additionally:
www.collectspace.com/ubb/Forum38/HTML/001197.html
Credit: collectSPACE website
Finally, the specific Autonetics contribution to Apollo referenced by Scott Schneeweis in the above citation:
www.spaceaholic.com/index.php/Detail/Object/Show/object_i...
Credit: Scott Schneeweis/Spaceaholic website
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
Capitol Reef National Park is an American national park in south-central Utah. The park is approximately 60 miles (97 km) long on its north–south axis and just 6 miles (9.7 km) wide on average. The park was established in 1971 to preserve 241,904 acres (377.98 sq mi; 97,895.08 ha; 978.95 km2) of desert landscape and is open all year, with May through September being the highest visitation months.
Partially in Wayne County, Utah, the area was originally named "Wayne Wonderland" in the 1920s by local boosters Ephraim P. Pectol and Joseph S. Hickman. Capitol Reef National Park was designated a national monument on August 2, 1937, by President Franklin D. Roosevelt to protect the area's colorful canyons, ridges, buttes, and monoliths; however, it was not until 1950 that the area officially opened to the public. Road access was improved in 1962 with the construction of State Route 24 through the Fremont River Canyon.
The majority of the nearly 100 mi (160 km) long up-thrust formation called the Waterpocket Fold—a rocky spine extending from Thousand Lake Mountain to Lake Powell—is preserved within the park. Capitol Reef is an especially rugged and spectacular segment of the Waterpocket Fold by the Fremont River. The park was named for its whitish Navajo Sandstone cliffs with dome formations—similar to the white domes often placed on capitol buildings—that run from the Fremont River to Pleasant Creek on the Waterpocket Fold. Locally, reef refers to any rocky barrier to land travel, just as ocean reefs are barriers to sea travel.
Capitol Reef encompasses the Waterpocket Fold, a warp in the earth's crust that is 65 million years old. It is the largest exposed monocline in North America. In this fold, newer and older layers of earth folded over each other in an S-shape. This warp, probably caused by the same colliding continental plates that created the Rocky Mountains, has weathered and eroded over millennia to expose layers of rock and fossils. The park is filled with brilliantly colored sandstone cliffs, gleaming white domes, and contrasting layers of stone and earth.
The area was named for a line of white domes and cliffs of Navajo Sandstone, each of which looks somewhat like the United States Capitol building, that run from the Fremont River to Pleasant Creek on the Waterpocket Fold.
The fold forms a north-to-south barrier that has barely been breached by roads. Early settlers referred to parallel impassable ridges as "reefs", from which the park gets the second half of its name. The first paved road was constructed through the area in 1962. State Route 24 cuts through the park traveling east and west between Canyonlands National Park and Bryce Canyon National Park, but few other paved roads invade the rugged landscape.
The park is filled with canyons, cliffs, towers, domes, and arches. The Fremont River has cut canyons through parts of the Waterpocket Fold, but most of the park is arid desert. A scenic drive shows park visitors some highlights, but it runs only a few miles from the main highway. Hundreds of miles of trails and unpaved roads lead into the equally scenic backcountry.
Fremont-culture Native Americans lived near the perennial Fremont River in the northern part of the Capitol Reef Waterpocket Fold around the year 1000. They irrigated crops of maize and squash and stored their grain in stone granaries (in part made from the numerous black basalt boulders that litter the area). In the 13th century, all of the Native American cultures in this area underwent sudden change, likely due to a long drought. The Fremont settlements and fields were abandoned.
Many years after the Fremont left, Paiutes moved into the area. These Numic-speaking people named the Fremont granaries moki huts and thought they were the homes of a race of tiny people or moki.
In 1872 Almon H. Thompson, a geographer attached to United States Army Major John Wesley Powell's expedition, crossed the Waterpocket Fold while exploring the area. Geologist Clarence Dutton later spent several summers studying the area's geology. None of these expeditions explored the Waterpocket Fold to any great extent.
Following the American Civil War, officials of the Church of Jesus Christ of Latter-day Saints in Salt Lake City sought to establish missions in the remotest niches of the Intermountain West. In 1866, a quasi-military expedition of Mormons in pursuit of natives penetrated the high valleys to the west. In the 1870s, settlers moved into these valleys, eventually establishing Loa, Fremont, Lyman, Bicknell, and Torrey.
Mormons settled the Fremont River valley in the 1880s and established Junction (later renamed Fruita), Caineville, and Aldridge. Fruita prospered, Caineville barely survived, and Aldridge died. In addition to farming, lime was extracted from local limestone, and uranium was extracted early in the 20th century. In 1904 the first claim to a uranium mine in the area was staked. The resulting Oyler Mine in Grand Wash produced uranium ore.
By 1920 no more than ten families at one time were sustained by the fertile flood plain of the Fremont River and the land changed ownership over the years. The area remained isolated. The community was later abandoned and later still some buildings were restored by the National Park Service. Kilns once used to produce lime are still in Sulphur Creek and near the campgrounds on Scenic Drive.
Local Ephraim Portman Pectol organized a "booster club" in Torrey in 1921. Pectol pressed a promotional campaign, furnishing stories to be sent to periodicals and newspapers. In his efforts, he was increasingly aided by his brother-in-law, Joseph S. Hickman, who was the Wayne County High School principal. In 1924, Hickman extended community involvement in the promotional effort by organizing a Wayne County-wide Wayne Wonderland Club. That same year, Hickman was elected to the Utah State Legislature.
In 1933, Pectol was elected to the presidency of the Associated Civics Club of Southern Utah, successor to the Wayne Wonderland Club. The club raised U.S. $150 (equivalent to $3,391 in 2022) to interest a Salt Lake City photographer in taking a series of promotional photographs. For several years, the photographer, J. E. Broaddus, traveled and lectured on "Wayne Wonderland".
In 1933, Pectol was elected to the legislature and almost immediately contacted President Franklin D. Roosevelt and asked for the creation of "Wayne Wonderland National Monument" out of the federal lands comprising the bulk of the Capitol Reef area. Federal agencies began a feasibility study and boundary assessment. Meanwhile, Pectol guided the government investigators on numerous trips and escorted an increasing number of visitors. The lectures of Broaddus were having an effect.
Roosevelt signed a proclamation creating Capitol Reef National Monument on August 2, 1937. In Proclamation 2246, President Roosevelt set aside 37,711 acres (15,261 ha) of the Capitol Reef area. This comprised an area extending about two miles (3 km) north of present State Route 24 and about 10 mi (16 km) south, just past Capitol Gorge. The Great Depression years were lean ones for the National Park Service (NPS), the new administering agency. Funds for the administration of Capitol Reef were nonexistent; it would be a long time before the first rangers would arrive.
Administration of the new monument was placed under the control of Zion National Park. A stone ranger cabin and the Sulphur Creek bridge were built and some road work was performed by the Civilian Conservation Corps and the Works Progress Administration. Historian and printer Charles Kelly came to know NPS officials at Zion well and volunteered to watchdog the park for the NPS. Kelly was officially appointed custodian-without-pay in 1943. He worked as a volunteer until 1950, when the NPS offered him a civil-service appointment as the first superintendent.
During the 1950s Kelly was deeply troubled by NPS management acceding to demands of the U.S. Atomic Energy Commission that Capitol Reef National Monument be opened to uranium prospecting. He felt that the decision had been a mistake and destructive of the long-term national interest. It turned out that there was not enough ore in the monument to be worth mining.
In 1958 Kelly got additional permanent help in protecting the monument and enforcing regulations; Park Ranger Grant Clark transferred from Zion. The year Clark arrived, fifty-six thousand visitors came to the park, and Charlie Kelly retired for the last time.
During the 1960s (under the program name Mission 66), NPS areas nationwide received new facilities to meet the demand of mushrooming park visitation. At Capitol Reef, a 53-site campground at Fruita, staff rental housing, and a new visitor center were built, the latter opening in 1966.
Visitation climbed dramatically after the paved, all-weather State Route 24 was built in 1962 through the Fremont River canyon near Fruita. State Route 24 replaced the narrow Capitol Gorge wagon road about 10 mi (16 km) to the south that frequently washed out. The old road has since been open only to foot traffic. In 1967, 146,598 persons visited the park. The staff was also growing.
During the 1960s, the NPS purchased private land parcels at Fruita and Pleasant Creek. Almost all private property passed into public ownership on a "willing buyer-willing seller" basis.
Preservationists convinced President Lyndon B. Johnson to set aside an enormous area of public lands in 1968, just before he left office. In Presidential Proclamation 3888 an additional 215,056 acres (87,030 ha) were placed under NPS control. By 1970, Capitol Reef National Monument comprised 254,251 acres (102,892 ha) and sprawled southeast from Thousand Lake Mountain almost to the Colorado River. The action was controversial locally, and NPS staffing at the monument was inadequate to properly manage the additional land.
The vast enlargement of the monument and diversification of the scenic resources soon raised another issue: whether Capitol Reef should be a national park, rather than a monument. Two bills were introduced into the United States Congress.
A House bill (H.R. 17152) introduced by Utah Congressman Laurence J. Burton called for a 180,000-acre (72,800 ha) national park and an adjunct 48,000-acre (19,400 ha) national recreation area where multiple use (including grazing) could continue indefinitely. In the United States Senate, meanwhile, Senate bill S. 531 had already passed on July 1, 1970, and provided for a 230,000-acre (93,100 ha) national park alone. The bill called for a 25-year phase-out of grazing.
In September 1970, United States Department of Interior officials told a house subcommittee session that they preferred about 254,000 acres (103,000 ha) be set aside as a national park. They also recommended that the grazing phase-out period be 10 years, rather than 25. They did not favor the adjunct recreation area.
It was not until late 1971 that Congressional action was completed. By then, the 92nd United States Congress was in session and S. 531 had languished. A new bill, S. 29, was introduced in the Senate by Senator Frank E. Moss of Utah and was essentially the same as the defunct S. 531 except that it called for an additional 10,834 acres (4,384 ha) of public lands for a Capitol Reef National Park. In the House, Utah Representative K. Gunn McKay (with Representative Lloyd) had introduced H.R. 9053 to replace the dead H.R. 17152. This time, the House bill dropped the concept of an adjunct Capitol Reef National Recreation Area and adopted the Senate concept of a 25-year limit on continued grazing. The Department of Interior was still recommending a national park of 254,368 acres (102,939 ha) and a 10-year limit for grazing phase-out.
S. 29 passed the Senate in June and was sent to the House, which dropped its own bill and passed the Senate version with an amendment. Because the Senate was not in agreement with the House amendment, differences were worked out in Conference Committee. The Conference Committee issued its report on November 30, 1971, and the bill passed both houses of Congress. The legislation—'An Act to Establish The Capitol Reef National Park in the State of Utah'—became Public Law 92-207 when it was signed by President Richard Nixon on December 18, 1971.
The area including the park was once the edge of a shallow sea that invaded the land in the Permian, creating the Cutler Formation. Only the sandstone of the youngest member of the Cutler Formation, the White Rim, is exposed in the park. The deepening sea left carbonate deposits, forming the limestone of the Kaibab Limestone, the same formation that rims the Grand Canyon to the southwest.
During the Triassic, streams deposited reddish-brown silt that later became the siltstone of the Moenkopi Formation. Uplift and erosion followed. Conglomerate, followed by logs, sand, mud, and wind-transported volcanic ash, then formed the uranium-containing Chinle Formation.
The members of the Glen Canyon Group were all laid down in the middle- to late-Triassic during a time of increasing aridity. They include:
Wingate Sandstone: sand dunes on the shore of an ancient sea
Kayenta Formation: thin-bedded layers of sand deposited by slow-moving streams in channels and across low plains
Navajo Sandstone: huge fossilized sand dunes from a massive Sahara-like desert.
The Golden Throne. Though Capitol Reef is famous for white domes of Navajo Sandstone, this dome's color is a result of a lingering section of yellow Carmel Formation carbonate, which has stained the underlying rock.
The San Rafael Group consists of four Jurassic-period formations, from oldest to youngest:
Carmel Formation: gypsum, sand, and limey silt laid down in what may have been a graben that was periodically flooded by sea water
Entrada Sandstone: sandstone from barrier islands/sand bars in a near-shore environment
Curtis Formation: made from conglomerate, sandstone, and shale
Summerville Formation: reddish-brown mud and white sand deposited in tidal flats.
Streams once again laid down mud and sand in their channels, on lakebeds, and in swampy plains, creating the Morrison Formation. Early in the Cretaceous, similar nonmarine sediments were laid down and became the Dakota Sandstone. Eventually, the Cretaceous Seaway covered the Dakota, depositing the Mancos Shale.
Only small remnants of the Mesaverde Group are found, capping a few mesas in the park's eastern section.
Near the end of the Cretaceous period, a mountain-building event called the Laramide orogeny started to compact and uplift the region, forming the Rocky Mountains and creating monoclines such as the Waterpocket Fold in the park. Ten to fifteen million years ago, the entire region was uplifted much further by the creation of the Colorado Plateau. This uplift was very even. Igneous activity in the form of volcanism and dike and sill intrusion also occurred during this time.
The drainage system in the area was rearranged and steepened, causing streams to downcut faster and sometimes change course. Wetter times during the ice ages of the Pleistocene increased the rate of erosion.
There are more than 840 species of plants that are found in the park and over 40 of those species are classified as rare and endemic.
The closest town to Capitol Reef is Torrey, about 11 mi (18 km) west of the visitor center on Highway 24, slightly west of its intersection with Highway 12. Its 2020 population is less than 300. Torrey has a few motels and restaurants and functions as a gateway town to Capitol Reef National Park. Highway 12, as well as a partially unpaved scenic backway named the Burr Trail, provide access from the west through the Grand Staircase–Escalante National Monument and the town of Boulder.
A variety of activities are available to tourists, both ranger-led and self-guided, including auto touring, hiking, backpacking, camping, bicycling (on paved and unpaved roads only; no trails), horseback riding, canyoneering, and rock climbing. The orchards planted by Mormon pioneers are maintained by the National Park Service. From early March to mid-October, various fruit—cherries, apricots, peaches, pears, or apples—can be harvested by visitors for a fee.
A hiking trail guide is available at the visitor center for both day hikes and backcountry hiking. Backcountry access requires a free permit.
Numerous trails are available for hiking and backpacking in the park, with fifteen in the Fruita District alone. The following trails are some of the most popular in the park:
Cassidy Arch Trail: a very steep, strenuous 3.5 mi (5.6 km) round trip that leads into the Grand Wash to an overlook of the Cassidy Arch.
Hickman Bridge Trail: a 2 mi (3.2 km) round trip leading to the natural bridge.
Frying Pan Trail: an 8.8 mi (14.2 km) round trip that passes the Cassidy Arch, Grand Wash, and Cohab Canyon.
Brimhall Natural Bridge: a popular, though strenuous, 4.5 mi (7.2 km) round trip with views of Brimhall Canyon, the Waterpocket Fold, and Brimhall Natural Bridge.
Halls Creek Narrows: 22 mi (35 km) long and considered strenuous, with many side canyons and creeks; typically hiked as a 2-3 day camping trip.
Visitors may explore several of the main areas of the park by private vehicle:
Scenic Drive: winds through the middle of the park, passing the major points of interest; the road is accessible from the visitor center to approximately 2 mi (3.2 km) into the Capitol Gorge.
Notom-Bullfrog Road: traverses the eastern side of the Waterpocket Fold, along 10 mi (16 km) of paved road, with the remainder unpaved.
Cathedral Road: an unpaved road through the northern areas of the park, that traverses Cathedral Valley, passing the Temples of the Sun and Moon.
The primary camping location is the Fruita campground, with 71 campsites (no water, electrical, or sewer hookups), and restrooms without bathing facilities. The campground also has group sites with picnic areas and restrooms. Two primitive free camping areas are also available.
Canyoneering is growing in popularity in the park. It is a recreational sport that takes one through slot canyons. It involves rappelling and may require swimming and other technical rope work. Day-pass permits are required for canyoneering in the park, and can be obtained for free from the visitor's center or through email. It's key to know that each route requires its own permit. If one is planning on canyoneering for multiple days, passes are required for each day. Overnight camping as part of the canyoneering trip is permitted, but one must request a free backcountry pass from the visitor center.
It is imperative to plan canyoneering trips around the weather. The Colorado Plateau is susceptible to flash flooding during prime rainy months. Because canyoneering takes place through slot canyons, getting caught in a flash flood could be lethal. Take care to consult reliable weather sources. The Weather Atlas shows charts with the monthly average rainfall in inches.
Another risk to be aware of during the summer months is extreme heat. Visitors can find weather warnings on the National Weather Service website. The heat levels are detailed by a color and numerical scale (0-4).
One of the most popular canyoneering routes in Capitol Reef National Park is Cassidy Arch Canyon. A paper by George Huddart, details the park's commitment to working with citizens to maintain the route as well as the vegetation and rocks. The canyon route is approximately 2.3 miles long (0.4 miles of technical work), consisting of 8 different rappels, and takes between 2.5 and 4.5 hours to complete. The first rappel is 140 ft and descends below the famous Cassidy Arch.
Utah is a landlocked state in the Mountain West subregion of the Western United States. It borders Colorado to its east, Wyoming to its northeast, Idaho to its north, Arizona to its south, and Nevada to its west. Utah also touches a corner of New Mexico in the southeast. Of the fifty U.S. states, Utah is the 13th-largest by area; with a population over three million, it is the 30th-most-populous and 11th-least-densely populated. Urban development is mostly concentrated in two areas: the Wasatch Front in the north-central part of the state, which is home to roughly two-thirds of the population and includes the capital city, Salt Lake City; and Washington County in the southwest, with more than 180,000 residents. Most of the western half of Utah lies in the Great Basin.
Utah has been inhabited for thousands of years by various indigenous groups such as the ancient Puebloans, Navajo, and Ute. The Spanish were the first Europeans to arrive in the mid-16th century, though the region's difficult geography and harsh climate made it a peripheral part of New Spain and later Mexico. Even while it was Mexican territory, many of Utah's earliest settlers were American, particularly Mormons fleeing marginalization and persecution from the United States via the Mormon Trail. Following the Mexican–American War in 1848, the region was annexed by the U.S., becoming part of the Utah Territory, which included what is now Colorado and Nevada. Disputes between the dominant Mormon community and the federal government delayed Utah's admission as a state; only after the outlawing of polygamy was it admitted in 1896 as the 45th.
People from Utah are known as Utahns. Slightly over half of all Utahns are Mormons, the vast majority of whom are members of the Church of Jesus Christ of Latter-day Saints (LDS Church), which has its world headquarters in Salt Lake City; Utah is the only state where a majority of the population belongs to a single church. A 2023 paper challenged this perception (claiming only 42% of Utahns are Mormons) however most statistics still show a majority of Utah residents belong to the LDS church; estimates from the LDS church suggests 60.68% of Utah's population belongs to the church whilst some sources put the number as high as 68%. The paper replied that membership count done by the LDS Church is too high for several reasons. The LDS Church greatly influences Utahn culture, politics, and daily life, though since the 1990s the state has become more religiously diverse as well as secular.
Utah has a highly diversified economy, with major sectors including transportation, education, information technology and research, government services, mining, multi-level marketing, and tourism. Utah has been one of the fastest growing states since 2000, with the 2020 U.S. census confirming the fastest population growth in the nation since 2010. St. George was the fastest-growing metropolitan area in the United States from 2000 to 2005. Utah ranks among the overall best states in metrics such as healthcare, governance, education, and infrastructure. It has the 12th-highest median average income and the least income inequality of any U.S. state. Over time and influenced by climate change, droughts in Utah have been increasing in frequency and severity, putting a further strain on Utah's water security and impacting the state's economy.
The History of Utah is an examination of the human history and social activity within the state of Utah located in the western United States.
Archaeological evidence dates the earliest habitation of humans in Utah to about 10,000 to 12,000 years ago. Paleolithic people lived near the Great Basin's swamps and marshes, which had an abundance of fish, birds, and small game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. Over the centuries, the mega-fauna died, this population was replaced by the Desert Archaic people, who sheltered in caves near the Great Salt Lake. Relying more on gathering than the previous Utah residents, their diet was mainly composed of cattails and other salt tolerant plants such as pickleweed, burro weed and sedge. Red meat appears to have been more of a luxury, although these people used nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Artifacts include nets woven with plant fibers and rabbit skin, woven sandals, gaming sticks, and animal figures made from split-twigs. About 3,500 years ago, lake levels rose and the population of Desert Archaic people appears to have dramatically decreased. The Great Basin may have been almost unoccupied for 1,000 years.
The Fremont culture, named from sites near the Fremont River in Utah, lived in what is now north and western Utah and parts of Nevada, Idaho and Colorado from approximately 600 to 1300 AD. These people lived in areas close to water sources that had been previously occupied by the Desert Archaic people, and may have had some relationship with them. However, their use of new technologies define them as a distinct people. Fremont technologies include:
use of the bow and arrow while hunting,
building pithouse shelters,
growing maize and probably beans and squash,
building above ground granaries of adobe or stone,
creating and decorating low-fired pottery ware,
producing art, including jewelry and rock art such as petroglyphs and pictographs.
The ancient Puebloan culture, also known as the Anasazi, occupied territory adjacent to the Fremont. The ancestral Puebloan culture centered on the present-day Four Corners area of the Southwest United States, including the San Juan River region of Utah. Archaeologists debate when this distinct culture emerged, but cultural development seems to date from about the common era, about 500 years before the Fremont appeared. It is generally accepted that the cultural peak of these people was around the 1200 CE. Ancient Puebloan culture is known for well constructed pithouses and more elaborate adobe and masonry dwellings. They were excellent craftsmen, producing turquoise jewelry and fine pottery. The Puebloan culture was based on agriculture, and the people created and cultivated fields of maize, beans, and squash and domesticated turkeys. They designed and produced elaborate field terracing and irrigation systems. They also built structures, some known as kivas, apparently designed solely for cultural and religious rituals.
These two later cultures were roughly contemporaneous, and appear to have established trading relationships. They also shared enough cultural traits that archaeologists believe the cultures may have common roots in the early American Southwest. However, each remained culturally distinct throughout most of their existence. These two well established cultures appear to have been severely impacted by climatic change and perhaps by the incursion of new people in about 1200 CE. Over the next two centuries, the Fremont and ancient Pueblo people may have moved into the American southwest, finding new homes and farmlands in the river drainages of Arizona, New Mexico and northern Mexico.
In about 1200, Shoshonean speaking peoples entered Utah territory from the west. They may have originated in southern California and moved into the desert environment due to population pressure along the coast. They were an upland people with a hunting and gathering lifestyle utilizing roots and seeds, including the pinyon nut. They were also skillful fishermen, created pottery and raised some crops. When they first arrived in Utah, they lived as small family groups with little tribal organization. Four main Shoshonean peoples inhabited Utah country. The Shoshone in the north and northeast, the Gosiutes in the northwest, the Utes in the central and eastern parts of the region and the Southern Paiutes in the southwest. Initially, there seems to have been very little conflict between these groups.
In the early 16th century, the San Juan River basin in Utah's southeast also saw a new people, the Díne or Navajo, part of a greater group of plains Athabaskan speakers moved into the Southwest from the Great Plains. In addition to the Navajo, this language group contained people that were later known as Apaches, including the Lipan, Jicarilla, and Mescalero Apaches.
Athabaskans were a hunting people who initially followed the bison, and were identified in 16th-century Spanish accounts as "dog nomads". The Athabaskans expanded their range throughout the 17th century, occupying areas the Pueblo peoples had abandoned during prior centuries. The Spanish first specifically mention the "Apachu de Nabajo" (Navaho) in the 1620s, referring to the people in the Chama valley region east of the San Juan River, and north west of Santa Fe. By the 1640s, the term Navaho was applied to these same people. Although the Navajo newcomers established a generally peaceful trading and cultural exchange with the some modern Pueblo peoples to the south, they experienced intermittent warfare with the Shoshonean peoples, particularly the Utes in eastern Utah and western Colorado.
At the time of European expansion, beginning with Spanish explorers traveling from Mexico, five distinct native peoples occupied territory within the Utah area: the Northern Shoshone, the Goshute, the Ute, the Paiute and the Navajo.
The Spanish explorer Francisco Vázquez de Coronado may have crossed into what is now southern Utah in 1540, when he was seeking the legendary Cíbola.
A group led by two Spanish Catholic priests—sometimes called the Domínguez–Escalante expedition—left Santa Fe in 1776, hoping to find a route to the California coast. The expedition traveled as far north as Utah Lake and encountered the native residents. All of what is now Utah was claimed by the Spanish Empire from the 1500s to 1821 as part of New Spain (later as the province Alta California); and subsequently claimed by Mexico from 1821 to 1848. However, Spain and Mexico had little permanent presence in, or control of, the region.
Fur trappers (also known as mountain men) including Jim Bridger, explored some regions of Utah in the early 19th century. The city of Provo was named for one such man, Étienne Provost, who visited the area in 1825. The city of Ogden, Utah is named for a brigade leader of the Hudson's Bay Company, Peter Skene Ogden who trapped in the Weber Valley. In 1846, a year before the arrival of members from the Church of Jesus Christ of latter-day Saints, the ill-fated Donner Party crossed through the Salt Lake valley late in the season, deciding not to stay the winter there but to continue forward to California, and beyond.
Members of the Church of Jesus Christ of Latter-day Saints, commonly known as Mormon pioneers, first came to the Salt Lake Valley on July 24, 1847. At the time, the U.S. had already captured the Mexican territories of Alta California and New Mexico in the Mexican–American War and planned to keep them, but those territories, including the future state of Utah, officially became United States territory upon the signing of the Treaty of Guadalupe Hidalgo, February 2, 1848. The treaty was ratified by the United States Senate on March 10, 1848.
Upon arrival in the Salt Lake Valley, the Mormon pioneers found no permanent settlement of Indians. Other areas along the Wasatch Range were occupied at the time of settlement by the Northwestern Shoshone and adjacent areas by other bands of Shoshone such as the Gosiute. The Northwestern Shoshone lived in the valleys on the eastern shore of Great Salt Lake and in adjacent mountain valleys. Some years after arriving in the Salt Lake Valley Mormons, who went on to colonize many other areas of what is now Utah, were petitioned by Indians for recompense for land taken. The response of Heber C. Kimball, first counselor to Brigham Young, was that the land belonged to "our Father in Heaven and we expect to plow and plant it." A 1945 Supreme Court decision found that the land had been treated by the United States as public domain; no aboriginal title by the Northwestern Shoshone had been recognized by the United States or extinguished by treaty with the United States.
Upon arriving in the Salt Lake Valley, the Mormons had to make a place to live. They created irrigation systems, laid out farms, built houses, churches, and schools. Access to water was crucially important. Almost immediately, Brigham Young set out to identify and claim additional community sites. While it was difficult to find large areas in the Great Basin where water sources were dependable and growing seasons long enough to raise vitally important subsistence crops, satellite communities began to be formed.
Shortly after the first company arrived in the Salt Lake Valley in 1847, the community of Bountiful was settled to the north. In 1848, settlers moved into lands purchased from trapper Miles Goodyear in present-day Ogden. In 1849, Tooele and Provo were founded. Also that year, at the invitation of Ute chief Wakara, settlers moved into the Sanpete Valley in central Utah to establish the community of Manti. Fillmore, Utah, intended to be the capital of the new territory, was established in 1851. In 1855, missionary efforts aimed at western native cultures led to outposts in Fort Lemhi, Idaho, Las Vegas, Nevada and Elk Mountain in east-central Utah.
The experiences of returning members of the Mormon Battalion were also important in establishing new communities. On their journey west, the Mormon soldiers had identified dependable rivers and fertile river valleys in Colorado, Arizona and southern California. In addition, as the men traveled to rejoin their families in the Salt Lake Valley, they moved through southern Nevada and the eastern segments of southern Utah. Jefferson Hunt, a senior Mormon officer of the Battalion, actively searched for settlement sites, minerals, and other resources. His report encouraged 1851 settlement efforts in Iron County, near present-day Cedar City. These southern explorations eventually led to Mormon settlements in St. George, Utah, Las Vegas and San Bernardino, California, as well as communities in southern Arizona.
Prior to establishment of the Oregon and California trails and Mormon settlement, Indians native to the Salt Lake Valley and adjacent areas lived by hunting buffalo and other game, but also gathered grass seed from the bountiful grass of the area as well as roots such as those of the Indian Camas. By the time of settlement, indeed before 1840, the buffalo were gone from the valley, but hunting by settlers and grazing of cattle severely impacted the Indians in the area, and as settlement expanded into nearby river valleys and oases, indigenous tribes experienced increasing difficulty in gathering sufficient food. Brigham Young's counsel was to feed the hungry tribes, and that was done, but it was often not enough. These tensions formed the background to the Bear River massacre committed by California Militia stationed in Salt Lake City during the Civil War. The site of the massacre is just inside Preston, Idaho, but was generally thought to be within Utah at the time.
Statehood was petitioned for in 1849-50 using the name Deseret. The proposed State of Deseret would have been quite large, encompassing all of what is now Utah, and portions of Colorado, Idaho, Nevada, Wyoming, Arizona, Oregon, New Mexico and California. The name of Deseret was favored by the LDS leader Brigham Young as a symbol of industry and was derived from a reference in the Book of Mormon. The petition was rejected by Congress and Utah did not become a state until 1896, following the Utah Constitutional Convention of 1895.
In 1850, the Utah Territory was created with the Compromise of 1850, and Fillmore (named after President Fillmore) was designated the capital. In 1856, Salt Lake City replaced Fillmore as the territorial capital.
The first group of pioneers brought African slaves with them, making Utah the only place in the western United States to have African slavery. Three slaves, Green Flake, Hark Lay, and Oscar Crosby, came west with this first group in 1847. The settlers also began to purchase Indian slaves in the well-established Indian slave trade, as well as enslaving Indian prisoners of war. In 1850, 26 slaves were counted in Salt Lake County. Slavery didn't become officially recognized until 1852, when the Act in Relation to Service and the Act for the relief of Indian Slaves and Prisoners were passed. Slavery was repealed on June 19, 1862, when Congress prohibited slavery in all US territories.
Disputes between the Mormon inhabitants and the federal government intensified after the Church of Jesus Christ of Latter-day Saints' practice of polygamy became known. The polygamous practices of the Mormons, which were made public in 1854, would be one of the major reasons Utah was denied statehood until almost 50 years after the Mormons had entered the area.
After news of their polygamous practices spread, the members of the LDS Church were quickly viewed by some as un-American and rebellious. In 1857, after news of a possible rebellion spread, President James Buchanan sent troops on the Utah expedition to quell the growing unrest and to replace Brigham Young as territorial governor with Alfred Cumming. The expedition was also known as the Utah War.
As fear of invasion grew, Mormon settlers had convinced some Paiute Indians to aid in a Mormon-led attack on 120 immigrants from Arkansas under the guise of Indian aggression. The murder of these settlers became known as the Mountain Meadows massacre. The Mormon leadership had adopted a defensive posture that led to a ban on the selling of grain to outsiders in preparation for an impending war. This chafed pioneers traveling through the region, who were unable to purchase badly needed supplies. A disagreement between some of the Arkansas pioneers and the Mormons in Cedar City led to the secret planning of the massacre by a few Mormon leaders in the area. Some scholars debate the involvement of Brigham Young. Only one man, John D. Lee, was ever convicted of the murders, and he was executed at the massacre site.
Express riders had brought the news 1,000 miles from the Missouri River settlements to Salt Lake City within about two weeks of the army's beginning to march west. Fearing the worst as 2,500 troops (roughly 1/3rd of the army then) led by General Albert Sidney Johnston started west, Brigham Young ordered all residents of Salt Lake City and neighboring communities to prepare their homes for burning and evacuate southward to Utah Valley and southern Utah. Young also sent out a few units of the Nauvoo Legion (numbering roughly 8,000–10,000), to delay the army's advance. The majority he sent into the mountains to prepare defenses or south to prepare for a scorched earth retreat. Although some army wagon supply trains were captured and burned and herds of army horses and cattle run off no serious fighting occurred. Starting late and short on supplies, the United States Army camped during the bitter winter of 1857–58 near a burned out Fort Bridger in Wyoming. Through the negotiations between emissary Thomas L. Kane, Young, Cumming and Johnston, control of Utah territory was peacefully transferred to Cumming, who entered an eerily vacant Salt Lake City in the spring of 1858. By agreement with Young, Johnston established the army at Fort Floyd 40 miles away from Salt Lake City, to the southwest.
Salt Lake City was the last link of the First Transcontinental Telegraph, between Carson City, Nevada and Omaha, Nebraska completed in October 1861. Brigham Young, who had helped expedite construction, was among the first to send a message, along with Abraham Lincoln and other officials. Soon after the telegraph line was completed, the Deseret Telegraph Company built the Deseret line connecting the settlements in the territory with Salt Lake City and, by extension, the rest of the United States.
Because of the American Civil War, federal troops were pulled out of Utah Territory (and their fort auctioned off), leaving the territorial government in federal hands without army backing until General Patrick E. Connor arrived with the 3rd Regiment of California Volunteers in 1862. While in Utah, Connor and his troops soon became discontent with this assignment wanting to head to Virginia where the "real" fighting and glory was occurring. Connor established Fort Douglas just three miles (5 km) east of Salt Lake City and encouraged his bored and often idle soldiers to go out and explore for mineral deposits to bring more non-Mormons into the state. Minerals were discovered in Tooele County, and some miners began to come to the territory. Conner also solved the Shoshone Indian problem in Cache Valley Utah by luring the Shoshone into a midwinter confrontation on January 29, 1863. The armed conflict quickly turned into a rout, discipline among the soldiers broke down, and the Battle of Bear River is today usually referred to by historians as the Bear River Massacre. Between 200 and 400 Shoshone men, women and children were killed, as were 27 soldiers, with over 50 more soldiers wounded or suffering from frostbite.
Beginning in 1865, Utah's Black Hawk War developed into the deadliest conflict in the territory's history. Chief Antonga Black Hawk died in 1870, but fights continued to break out until additional federal troops were sent in to suppress the Ghost Dance of 1872. The war is unique among Indian Wars because it was a three-way conflict, with mounted Timpanogos Utes led by Antonga Black Hawk fighting federal and Utah local militia.
On May 10, 1869, the First transcontinental railroad was completed at Promontory Summit, north of the Great Salt Lake. The railroad brought increasing numbers of people into the state, and several influential businessmen made fortunes in the territory.
Main article: Latter Day Saint polygamy in the late-19th century
During the 1870s and 1880s, federal laws were passed and federal marshals assigned to enforce the laws against polygamy. In the 1890 Manifesto, the LDS Church leadership dropped its approval of polygamy citing divine revelation. When Utah applied for statehood again in 1895, it was accepted. Statehood was officially granted on January 4, 1896.
The Mormon issue made the situation for women the topic of nationwide controversy. In 1870 the Utah Territory, controlled by Mormons, gave women the right to vote. However, in 1887, Congress disenfranchised Utah women with the Edmunds–Tucker Act. In 1867–96, eastern activists promoted women's suffrage in Utah as an experiment, and as a way to eliminate polygamy. They were Presbyterians and other Protestants convinced that Mormonism was a non-Christian cult that grossly mistreated women. The Mormons promoted woman suffrage to counter the negative image of downtrodden Mormon women. With the 1890 Manifesto clearing the way for statehood, in 1895 Utah adopted a constitution restoring the right of women's suffrage. Congress admitted Utah as a state with that constitution in 1896.
Though less numerous than other intermountain states at the time, several lynching murders for alleged misdeeds occurred in Utah territory at the hand of vigilantes. Those documented include the following, with their ethnicity or national origin noted in parentheses if it was provided in the source:
William Torrington in Carson City (then a part of Utah territory), 1859
Thomas Coleman (Black man) in Salt Lake City, 1866
3 unidentified men at Wahsatch, winter of 1868
A Black man in Uintah, 1869
Charles A. Benson in Logan, 1873
Ah Sing (Chinese man) in Corinne, 1874
Thomas Forrest in St. George, 1880
William Harvey (Black man) in Salt Lake City, 1883
John Murphy in Park City, 1883
George Segal (Japanese man) in Ogden, 1884
Joseph Fisher in Eureka, 1886
Robert Marshall (Black man) in Castle Gate, 1925
Other lynchings in Utah territory include multiple instances of mass murder of Native American children, women, and men by White settlers including the Battle Creek massacre (1849), Provo River Massacre (1850), Nephi massacre (1853), and Circleville Massacre (1866).
Beginning in the early 20th century, with the establishment of such national parks as Bryce Canyon National Park and Zion National Park, Utah began to become known for its natural beauty. Southern Utah became a popular filming spot for arid, rugged scenes, and such natural landmarks as Delicate Arch and "the Mittens" of Monument Valley are instantly recognizable to most national residents. During the 1950s, 1960s, and 1970s, with the construction of the Interstate highway system, accessibility to the southern scenic areas was made easier.
Beginning in 1939, with the establishment of Alta Ski Area, Utah has become world-renowned for its skiing. The dry, powdery snow of the Wasatch Range is considered some of the best skiing in the world. Salt Lake City won the bid for the 2002 Winter Olympics in 1995, and this has served as a great boost to the economy. The ski resorts have increased in popularity, and many of the Olympic venues scattered across the Wasatch Front continue to be used for sporting events. This also spurred the development of the light-rail system in the Salt Lake Valley, known as TRAX, and the re-construction of the freeway system around the city.
During the late 20th century, the state grew quickly. In the 1970s, growth was phenomenal in the suburbs. Sandy was one of the fastest-growing cities in the country at that time, and West Valley City is the state's 2nd most populous city. Today, many areas of Utah are seeing phenomenal growth. Northern Davis, southern and western Salt Lake, Summit, eastern Tooele, Utah, Wasatch, and Washington counties are all growing very quickly. Transportation and urbanization are major issues in politics as development consumes agricultural land and wilderness areas.
In 2012, the State of Utah passed the Utah Transfer of Public Lands Act in an attempt to gain control over a substantial portion of federal land in the state from the federal government, based on language in the Utah Enabling Act of 1894. The State does not intend to use force or assert control by limiting access in an attempt to control the disputed lands, but does intend to use a multi-step process of education, negotiation, legislation, and if necessary, litigation as part of its multi-year effort to gain state or private control over the lands after 2014.
Utah families, like most Americans everywhere, did their utmost to assist in the war effort. Tires, meat, butter, sugar, fats, oils, coffee, shoes, boots, gasoline, canned fruits, vegetables, and soups were rationed on a national basis. The school day was shortened and bus routes were reduced to limit the number of resources used stateside and increase what could be sent to soldiers.
Geneva Steel was built to increase the steel production for America during World War II. President Franklin D. Roosevelt had proposed opening a steel mill in Utah in 1936, but the idea was shelved after a couple of months. After the attack on Pearl Harbor, the United States entered the war and the steel plant was put into progress. In April 1944, Geneva shipped its first order, which consisted of over 600 tons of steel plate. Geneva Steel also brought thousands of job opportunities to Utah. The positions were hard to fill as many of Utah's men were overseas fighting. Women began working, filling 25 percent of the jobs.
As a result of Utah's and Geneva Steels contribution during the war, several Liberty Ships were named in honor of Utah including the USS Joseph Smith, USS Brigham Young, USS Provo, and the USS Peter Skene Ogden.
One of the sectors of the beachhead of Normandy Landings was codenamed Utah Beach, and the amphibious landings at the beach were undertaken by United States Army troops.
It is estimated that 1,450 soldiers from Utah were killed in the war.
M&Co., 1986
I first went to Florent in 1990, in the middle of the night, after seeing an out-of-it Sun Ra play in the Village. My friends and I were on our way back to New Haven (in my Volkswagen Rabbit whose shocks and struts were virtually nonexistent), and Florent was conveniently close to the West Side Highway. I picked up this card then; as far as I know, the design remained constantly in production from start to finish (1986-2008).
Yeah, it's in a frame, because I'm a dork.
Bay Ridge, Brooklyn
2012
---
Traffic is nonexistent during the height of Hurricane Sandy, near the on-ramp to the Verrazano-Narrows Bridge.
Atlanta Braves baseball from 20 September 2019 (the night they clinched the division crown). The new park (opened in 2018) gets panned a little because it's usually pretty hot in Georgia and a heck of a lot of seats are in direct sun.
It's a relatively generic stadium (in the new mold of generic stadiums), but it's nice. The area outside the stadium (bars/restaurants) is actually a bit more interesting/unique than the stadium itself.
The biggest drawback is that the Atlanta Braves no longer play in Atlanta. (That and parking is almost nonexistent up there in Marietta near the stadium. We were scratching our heads looking for the actual parking lots.)
As for the game...it was a great game. First time in my life I actually got to see a division-clinching game. (They'd clinched a playoff spot a few days before.)
Monotropa hypopitys, also known as Dutchman's Pipe, Yellow Bird's-nest or Pinesap, is a herbaceous perennial plant, formerly classified in the families Monotropaceae or Pyrolaceae, but now included within the subfamily Monotropoidiae of the blueberry family (Ericaceae). It is native to temperate regions of the Northern Hemisphere, and is scarce or rare in many areas. However, it is still the most widespread member of the subfamily. While currently included in the genus Monotropa, recent genetic evidence strongly suggests that Monotropa hypopitys should be placed in its own genus, Hypopitys.
Unlike most plants, it does not contain chlorophyll; it is a myco-heterotroph, getting its food through parasitism upon fungi rather than photosynthesis. These fungi form a mycorrhiza with nearby tree species.
Plants are fleshy and grow 10–35 cm tall. True stems are nonexistent. Instead, the only part which emerges from the soil are unbranched adventitious inflorescences which are developmentally similar to adventitious roots. [2] All parts of the plant are pale yellowish white to reddish-tinged. The bracts are 5–10 mm long scale-like structures, which cover most of the inflorescence. Plants flower from April to December depending on the geographic region (June to September in North America). The flowers are pendulous when young, but become erect when they begin to mature into the fruit which is a capsule. The flowers are 9–12 mm long and produced in a cluster of 1–11 together at the apex of the inflorescence, which is a raceme. It flowers between early summer and mid autumn; plants that flower in summer are yellow and sparsely hairy, while those that flower in autumn are red and densely hairy. These two color "forms" overlap in flowering time. It has been suggested that yellow individuals are largely self-pollinating. (Wikipedia)
In Baima Snow Mountain nature reserve, Yunnan, China.
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
This display is in a hallway in one of the buildings at the Kasuisai Temple complex in Fukuroi in western Shizuoka Prefecturen on central Honshu's central Pacific coast.
I was intrigued to discover that some of these figurines represent a supernatural creature from Japanese folklore. It's as if a Catholic church set up a display of leprechauns to bring the parish good luck.
Roughly speaking, the text in the lower center says:
=============================================
Hoping for a speedy end to the pandemic: Amabie Hina dolls.
Amabie is said to have caused phenomena such as shining light in Higo Province (now Kumamoto Prefecture) during the late Edo period, and made predictions about good harvests and epidemics.
She is said to have predicted: "Show people a picture of me as soon as possible to protect them from the epidemic," before returning to the sea.
We will exhibit Hina dolls based on Amabie, and pray for a speedy end to the epidemic.
=============================================
According to Wikipedia:
--------------------------------
During the COVID-19 pandemic in Japan, amabie became a popular topic on Twitter in Japan.
Manga artists (e.g. Chica Umino, Mari Okazaki and Toshinao Aoki) published their cartoon versions of amabie on social networks.[60]
The Twitter account of Orochi Do, an art shop specializing in hanging scrolls of yōkai, is said to have been the first, tweeting "a new coronavirus countermeasure" in late February 2020.
A twitter bot account (amabie14) has been collecting images of amabie since March 2020.[62] This trend was noticed by scholars.[63][64][65]
---------------------------------
The small figure in the lower left corner of the inscription below is Amabie as she appeared in a late Edo-period woodblock print with a date corresponding to 1846.
The three smaller figures with green scales represent Amabie.
Wikipedia has the following to say about Amabie:
Amabie (アマビエ) is a legendary Japanese mermaid or merman with a bird beak-like mouth and three legs or tail-fins, who allegedly emerges from the sea, prophesies either an abundant harvest or an epidemic, and instructed people to make copies of its likeness to defend against illness.
The amabie appears to be a variant or misspelling of the amabiko or amahiko (Japanese: アマビコ, アマヒコ, 海彦, 尼彦, 天日子, 天彦, あま彦), otherwise known as the amahiko-nyūdo (尼彦入道), also a prophetic beast depicted variously in different examples, being mostly as 3-legged or 4-legged, and said to bear ape-like (sometimes torso-less), daruma doll-like, or bird-like, or fish-like resemblance according to commentators.
This information was typically disseminated in the form of illustrated woodblock print bulletins (kawaraban) or pamphlets (surimono) or hand-drawn copies. The amabie was depicted on a print marked with an 1846 date. Attestation to the amabiko predating amabie had not been known until the discovery of a hand-painted leaflet dated 1844.
There are also other similar yogenjū (予言獣) that are not classed within the amabie/amabiko group, e.g., the arie (アリエ).
Legend
According to legend, an amabie appeared in Higo Province (Kumamoto Prefecture), around the middle of the fourth month, in the year Kōka-3 (mid-May 1846) in the Edo period.
A glowing object had been spotted in the sea, almost on a nightly basis. The town's official went to the coast to investigate and witnessed the amabie.
According to the sketch made by this official, it had long hair, a mouth like bird's bill, was covered in scales from the neck down and three-legged.
Addressing the official, it identified itself as an amabie and told him that it lived in the open sea.
It went on to deliver a prophecy: "Good harvest will continue for six years from the current year;[a] if disease spreads, draw a picture of me and show the picture of me to those who fall ill."
Afterward, it returned to the sea. The story was printed in the kawaraban [ja] (woodblock-printed bulletins), where its portrait was printed, and this is how the story disseminated in Japan.[1][2][3]
There is only one unique record of an amabie, whose meaning is uncertain. It has been conjectured that this amabie was simply a miscopying of "amabiko",[b] a yōkai creature that can be considered identical.[2][4] Like the amabie, the amabiko is a three-legged or multi-legged prophesizing creature which prescribes the display of its artistic likeness to defend against sickness or death.[5]
However, the appearance of the amabie is said to be rather mermaid-like (the three-leggedness allegedly stemming from a mermaid type called jinjahime [ja]), and for this reason one researcher concludes there is not enough of a close resemblance in physical appearance between the two.[6]
Name variations
There are a dozen or more attestations of amabiko or amahiko (海彦; var. あま彦, 尼彦, 天彦) extant (counting the amabie),[7][12] with the copies dated 1843 (Tenpō 14) perhaps being the oldest.[14]
Locality of appearances
Four describe appearances in Higo Province, one report the Amabiko Nyūdo (尼彦入道, "the amahiko monk") in neighboring Hyuga Province (Miyazaki prefecture), another vaguely points to the western sea.[7][2]
Beyond those clustered in the south, two describe appearances in Echigo Province in the north.[7][2][c]
The two oldest accounts (1844, 1846) do not closely specify the locations, but several accounts name specific village or counties (gun) that turn out to be nonexistent fictitious place names.[16]
Physical characteristics
The accompanying caption texts describes some as glowing (at night) or having ape-like voices,[17] but description of physical appearance is rather scanty. The newspapers and commentators however provide iconographic analysis of the pictorials (hand-painted and prints).
The majority of pictorial represent the amabiko/amabie as 3-legged (or odd-number legged), with a couple cases rather like an ordinary quadruped.[23]
The hand-copied pamphlet[d] illustration depicts a creature rather like an ape with three legs, the legs seemingly projecting directly from the head (without any neck or torso in-between). The body and face are covered profusely with short hair, except for it being bald-headed. The eyes and ears are human-like, with a pouty or protruding mouth.[25][26] The creature appeared in the year 1844[33] and predicted doom to 70% of the Japanese population that year, which could be averted with its picture-amulet.[34]
Amahiko-no-mikoto
The Amahiko-no-mikoto (天日子尊, ‘His Highness Heaven Prince’) was spotted in a rice paddy in Yuzawa, Niigata, as reported by the Tokyo Nichinichi Shinbun [ja] from 1875.[35][4] The crude newspaper illustration depicts a daruma doll-like or ape-like, hairless-looking four-legged creature.[20]
This example stands out since it was emerged not in the ocean but in a wet rice field.[19] Also, the addition of the imperial/divine title of "-mikoto" has been noted by one researcher as resembling the name of one of the Amatsukami or "Heavenly Deities" of ancient Japan.[e][19]
This creature in the crude drawing is said to resemble a daruma doll or an ape.[35][36]
Ape-voiced
"Amabiko", illustrated in the Kōbunko encyclopedia.[9][10]
There are at least three examples of the amabiko[?] crying like apes.[38]
The texts of all three identify the place of appearance as Shinji-kōri[?] (眞字郡/眞寺郡), a non-existent county in Higo Province,[39][40][f][g] and names the discoverer who heard the ape voices heard by night and tracked down the amabiko as one Shibata Hikozaemon (or Goroemon/Gorozaemon).[h][42][9]
One ape-voiced amabiko[?] (尼彦, ‘nun prince’) is represented by a hand-painted copy owned by Kōichi Yumoto [ja],[43] an authority in the study of this yōkai.[44] This document has a terminus post quem of 1871 (Meiji 4) or later,[i][32] The painting is said to depict a quadruped, with extremely close similarity in form to the mikoto (ape- or daruma doll-like) by commentators.[2][20]
However, the amahiko[?] (あま彦)[j] that cried like an ape (newspaper piece) is reported to have been drawn as a "three-legged monster".[45][k][l] And the encyclopedia example described the amabiko (アマビコ) as a kechō (怪鳥, ‘monstrous bird’) in its sub-heading.[9]
A tangential point of interest is that this text transcribed in the newspaper refers to "we amahiko who dwell in the sea", suggesting there are multiple numbers of the creature.[32]
Glowing
The foregoing amahiko[?] (あま彦, ‘? prince’) was also described as a hikari-mono (光り物, glowing object).[45] The glowing is an attribute common to other examples, such as the amabie and amahiko (尼彦/あまひこ, ‘nun prince’) reported in the Nagano Shinbun.[22][41]
Amabiko (天彦, ‘heaven prince’) was also purportedly seen glowing at night in the offing of the Western Sea, during the Tenpō era (1830–1844), and illustrations were brought for sale at 5 sen apiece to Kasai [ja]-kanamachi village, Tokyo, as reported in another newspaper, dated 20 October 1881.[47]
This creature allegedly predicted global-scale doom thirty-odd years ahead,[m] conveniently coinciding with the time the peddlers were selling them, prompting researcher Eishun Nagano to comment that while the text may or may not have been genuinely composed in the Edo Period, the illustrations were probably contemporary,[48] though he guesses that the merchandise was surimono woodblock print.[49] The creature also professed to serve the heavenly Tenbu or Deva divinities (of Buddhism), even though he is presumably sea-dwelling.[19]
Old man or monk
The amahiko[?] nyūdō (尼彦入道, ‘nun prince monk’) on a surimono print, which purportedly appeared in Hyūga Province,[50] The illustration here resembles an old man with bird-like body and nine legs.[20]
Similar yōkai
In Japanese folklore or popular imagination, there are also other similar yōkai that follow the pattern of predicting doom and instructing humans to copy or view its image, but lie outside the classification of amabie/amabiko according to a noted researcher. These are referred to generically as "other" yogenjū (予言獣).[51]
Among the other prophetic beasts was the arie (アリエ), which appeared in "Aotori-kōri" county, Higo Province, according to the Kōfu Nichinichi Shimbun[n] newspaper dated 17 June 1876, although this report has been debunked by another paper.[o][53]
Yamawarawa (山童)
The yamawarawa in the folklore of Amakusa is believed to haunt the mountains. Although neither of these last two emerge from sea, other similarities such as prophesying and three-leggedness indicate some sort of interrelationship.[2][4][54]
There are various other yōkai creatures that are vastly different in appearance, but have the ability to predict, such as the kudan,[55] the jinjahime [ja][56] or "shrine princess", the hōnen game (豊年亀) or "bumper crop year turtle", and the "turtle woman".[57][2]
A tradition in the West ascribes every creature of the sea with the ability to foretell the future, and there is no scarcity of European legends about merfolk bringing prophecy.
For this reason, the amabie is considered to be a type of mermaid, in some quarters. But since the amabie is credited with the ability to repel pestilence as well, it should be considered as more of a deity according to some.[58]
Steampunk is a subgenre of science fiction or science fantasy that incorporates technology and aesthetic designs inspired by 19th-century industrial steam-powered machinery.Although its literary origins are sometimes associated with the cyberpunk genre, steampunk works are often set in an alternative history of the 19th century’s British Victorian era or American “Wild West”, in a future during which steam power has maintained mainstream usage, or in a fantasy world that similarly employs steam power. However, steampunk and Neo-Victorian are different in that the Neo-Victorian movement does not extrapolate on technology and embraces the positive aspects of the Victorian era’s culture and philosophy.
Steampunk most recognizably features anachronistic technologies or retrofuturistic inventions as people in the 19th century might have envisioned them, and is likewise rooted in the era’s perspective on fashion, culture, architectural style, and art. Such technology may include fictional machines like those found in the works of H. G. Wells and Jules Verne, or of the modern authors. Other examples of steampunk contain alternative-history-style presentations of such technology as steam cannons, lighter-than-air airships, analogue computers, or such digital mechanical computers as Charles Babbage’s Analytical Engine. Steampunk may also incorporate additional elements from the genres of fantasy, horror, historical fiction, alternate history, or other branches of speculative fiction, making it often a hybrid genre.[citation needed] The first known appearance of the term steampunk was in 1987, though it now retroactively refers to many works of fiction created as far back as the 1950s or 1960s. Steampunk also refers to any of the artistic styles, clothing fashions, or subcultures that have developed from the aesthetics of steampunk fiction, Victorian-era fiction, art nouveau design, and films from the mid-20th century. Various modern utilitarian objects have been modded by individual artisans into a pseudo-Victorian mechanical “steampunk” style, and a number of visual and musical artists have been described as steampunk. Superficially, steampunk may resemble retrofuturism. Indeed, both sensibilities recall “the older but still modern eras in which technological change seemed to anticipate a better world, one remembered as relatively innocent of industrial decline.” One of steampunk’s most significant contributions is the way in which it mixes digital media with traditional handmade art forms. As scholars Rachel Bowser and Brian Croxall put it, “the tinkering and tinker-able technologies within steampunk invite us to roll up our sleeves and get to work re-shaping our contemporary world.” In this respect, steampunk bears more in common with DIY craft and making. Aspects of steampunk design emphasise a balance between form and function. In this it is like the Arts and Crafts Movement. But John Ruskin, William Morris, and the other reformers in the late nineteenth century rejected machines and industrial production. On the other hand, steampunk enthusiasts present a “non-luddite critique of technology”. Various modern utilitarian objects have been modified by enthusiasts into a pseudo-Victorian mechanical “steampunk” style.Examples include computer keyboards and electric guitars. The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, wood, and leather) with design elements and craftsmanship consistent with the Victorian era, rejecting the aesthetic of industrial design. Steampunk fashion has no set guidelines but tends to synthesize modern styles with influences from the Victorian era. Such influences may include bustles, corsets, gowns, and petticoats; suits with waistcoats, coats, top hats and bowler hats (themselves originating in 1850 England), tailcoats and spats; or military-inspired garments. Steampunk-influenced outfits are usually accented with several technological
and “period” accessories: timepieces, parasols, flying/driving goggles, and ray guns. Modern accessories like cell phones or music players can be found in steampunk outfits, after being modified to give them the appearance of Victorian-era objects. Post-apocalyptic elements, such as gas masks, ragged clothing, and tribal motifs, can also be included. Aspects of steampunk fashion have been anticipated by mainstream high fashion, the Lolita and aristocrat styles, neo-Victorianism, and the romantic goth subculture. In 2005, Kate Lambert, known as “Kato”, founded the first steampunk clothing company, “Steampunk Couture”,[60] mixing Victorian and post-apocalyptic influences. In 2013, IBM predicted, based on an analysis of more than a half million public posts on message boards, blogs, social media sites, and news sources, “that ‘steampunk,’ a subgenre inspired by the clothing, technology and social mores of Victorian society, will be a major trend to bubble up and take hold of the retail industry”.
Post-apocalyptic
Mary Shelley’s The Last Man, set near the end of the 21st century after a plague had brought down civilization, was probably the ancestor of post-apocalyptic steampunk literature. Post-apocalyptic steampunk is set in a world where some cataclysm has precipitated the fall of civilization and steam power is once again ascendant, such as in Hayao Miyazaki’s post-apocalyptic anime Future Boy Conan (1978),
where a war fought with superweapons has devastated the planet. Robert Brown’s novel, The Wrath of Fate (as well as much of Abney Park’s music) is set in A Victorianesque world where an apocalypse was set into motion by a time-traveling mishap. Cherie Priest’s Boneshaker series is set in a world where a zombie apocalypse happened during the Civil War era. The Peshawar Lancers by S.M. Stirling is set in a post-apocalyptic future in which a meteor shower in 1878 caused the collapse of Industrialized civilization. The movie 9 (which might be better classified as “stitchpunk” but was largely influenced by steampunk)[82] is also set in a post-apocalyptic world after a self-aware war machine ran amok. Steampunk Magazine even published a book called A Steampunk’s Guide to the Apocalypse, about how steampunks could survive should such a thing actually happen.
Video games
A variety of styles of video games have used steampunk settings.
The Chaos Engine (1993) is a run and gun video game inspired by the Gibson/Sterling novel The Difference Engine (1990), set in a Victorian steampunk age. Developed by the Bitmap Brothers, it was first released on the Amiga in 1993; a sequel was released in 1996.
The graphic adventure puzzle video games Myst (1993), Riven (1997), and Myst III: Exile (2001) (all produced by Cyan Worlds) take place in an alternate steampunk universe, where elaborate infrastructures have been built to run on steam power. The SteamWorld series of games has the player controlling steam-powered robots.
Both Thief: The Dark Project and its sequel, Thief II are set in a steampunk metropolis.
Guns of Icarus Online (2012) is multiplayer game with steampunk thematic.
Some have proposed a steampunk philosophy that incorporates punk-inspired anti-establishment sentiments typically bolstered by optimism about human potential.
Steampunk became a common descriptor for homemade objects sold on the craft network Etsy between 2009 and 2011,[citation needed] though many of the objects and fashions bear little resemblance to earlier established descriptions of steampunk. Thus the craft network may not
strike observers as “sufficiently steampunk” to warrant its use of the term.
#gleitzeit steampunk art image #gif#art gif#gleitzeit gif#Paul Jaisini
cannibaliza: medievalpoc: medievalpoc: Peter Paul Rubens Drunken Silenus Netherlands (1616) Oil on wood, 212 x 214.5 cm. Alte Pinakothek, Munich. I think we all need to take a moment to appreciate just how INCREDIBLY upset this painting and Ruben’s apparent love for it have made the curator at wga.hu: In Greek mythology Silenus is a rural god, one of the retinue of Bacchus, a gay, fat old drunkard who was yet wise and had the gift of prophecy. In Rubens’ painting he is shown drunkenly tottering, his belly swollen with meat and drink, and supported by a disparate collection of dotards, drunkards, blacks, children and young women. The careless inebriation of this bacchanal is expressed by a thicker touch that conveys the unwieldy weight of the drinkers’ gait. The composition was originally conceived with half-length figures, but was later enlarged by Rubens himself. The painting hung in Rubens’ house. Ha ha ha ha ha…my goodness. There is only a single Black man in this painting, but perhaps the incredible force with which he is pinching Silenus’s “gay, fat old drunk[ard]” ass* is enough to chagrin this curator into thinking there must be somehow more than one? Apparently the thought of Rubens staring at this piece and smiling every morning while eating his breakfast sausage was just too much for some people. As you may have noticed by now, Rubens adored drawing and painting Black people and included them in many, many of his paintings, as well as having done studies, portraits, sketches, and other works of art used for his workshop and apprentices. Many of his works he kept for himself in his personal collection. *The pinch is actually an important part of the original story: Silenus is awakened from a drunken stupor and bound with his own garlands by nymphs and satyrs and made to sing a song of creation and the forces of nature for an important ceremonial dance. I truly hope you understand how happy this painting makes me. I want one for my own (nonexistent) breakfast nook. This subject is also referred to as “The Triumph of Silenus”. Yeah the “curators” at wga.hu are a retired physicist and a researcher in computer science and information theory. They’re not art historians at all. DON’T BE SURPRISED THAT THEY SUCK AT ART HISTORY. the rest of you are right though. I find that incredibly ironic, personally. And to be fair, my point is that art history writing is full of bigoted opinions like the above, so “sucking at art history” is kind of perspective-contingent. After all, considering that what I do differs quite a bit from the way art history is usually conducted (which I of course think is a good thing), plenty of people have said that *I* suck at art history, too. I would, however, very much doubt that the curators of wga.hu have received anywhere near the quantity of hate mail I have.
Pacific Western Airlines started off as Central British Columbia Airlines by two bush pilots in 1946 with a Beech 17 Staggerwing as its sole equipment, and its sole purpose to fly forest fire patrol missions across the vast forests of British Columbia. Despite this, CBCA was founded at just the right time: after World War II, Canada was interested in tapping the barely-touched natural resources of Canada’s tundra, and CBCA was uniquely positioned to take advantage of the explosion of mining interests in northern British Columbia.
The little airline expanded rapidly to include a bewildering array of aircraft serving the remote mining camps and eventual towns that sprung up around them. By 1955, CBCA was profitable enough to buy out nine other airlines in the region, consolidating them into Pacific Western Airlines; Pacific Western again got lucky in 1959, when Canadian Pacific turned over most of its western Canadian routes to Pacific Western, as CP Air wanted to concentrate on its international routes.
Pacific Western was always looking for more ways to innovate. In 1963, it started a Douglas DC-4 shuttle between Calgary and Edmonton, Alberta: 30 years before low-cost operators like Easyjet started a similar program, Pacific Western was selling tickets onboard its own aircraft shortly before takeoff, with seats offered as first-come, first-served. It also was one of the first Canadian airlines to offer all-inclusive holiday charters to the Caribbean, Las Vegas, and the United Kingdom. Jets arrived with Boeing 707s in 1967, the same year Pacific Western became the first airline to adopt the Lockheed L-100 Hercules, the civilian version of the C-130; these supplied mining camps along the Arctic Sea, where runways were nonexistent. Even as brand-new Boeing 737s arrived, Pacific Western was still flying ancient Douglas DC-4s in the Northwest Territories. Besides its scheduled services, Pacific Western was flying worldwide ad hoc cargo charter services.
In 1974, with fuel prices rising and maintenance costs mounting for Pacific Western’s different aircraft, the province of Alberta assumed ownership of Pacific Western to ensure that the airline continued operations; it was that important to western Canada. Equipment was standardized on the Boeing 737, with its Northwest Territories cargo operations sold off. Four years later, the airline bought out Transair, giving it routes east of Alberta for the first time. By 1983, when Alberta privatized the airline again, Pacific Western was the largest airline in western Canada and one of the most profitable. It was doing so well that in 1987 it submitted an offer to buy its old rival, CP Air. When this was approved by the Canadian government, Pacific Western then bought out troubled carrier Wardair Canada, absorbing Canada’s third and second largest airlines in the space of two years. All three airlines were then merged into and renamed Canadian Airlines, retiring the Canadian Pacific, Wardair, and Pacific Western brands.
This 737 is finished in Pacific Western's final livery before it was combined into CP Air and Canadian Airlines.
Also, metal wires and brackets like visible orthodontics treatment may cause irritation to the inside of the lips, cheeks and tongue - problems that are generally nonexistent. Having the plastic trays in your mouth does take some getting used to, but after a few days, you can forget they are even there.
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
Young Filipinos pass the time playing basketball in Tondo, Manila's largest and poorest district.
Teenage pregnancy is widespread in the Philippines, especially amongst the poor. In Manila, this contributes to overpopulation and the vicious cycle of poverty, another child borne into the ghettoes and a teenage Mom bearing the burden of raising a child before her own maturity and adulthood. An estimated 70,000 adolescent mothers die each year in developing countries. Young mothers face enormous health risks, obstructed labour is common and results in newborn deaths and deaths or disabilities in the mother.
Children are everywhere, tangible evidence of the city's teenage pregnancy problem. Every year, 13 out of 100 girls aged between 15 and 19 of the Filipino population get pregnant. Healthcare for Manila's urban poor is almost nonexistent, while opportunities to learn about contraception in this strictly Catholic country are rare.
The Philippines, now home to around 85 million people, has become one of the fastest growing populations in Asia with about 2 million new births each year, many of them in public hospitals so overwhelmed that new mothers are forced to share beds. Meanwhile, the Philippines' population is projected to expand to as many as 142 million by 2040, by the government's own estimates, and the rapid arrival of new mouths to feed is straining the country's creaking infrastructure and choking its efforts to cut poverty.
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
1/100 Elyn Kshatriya
1/100 Elyn Gatling Guns x 4
Custom decals laid out by Dade W. Bell and printed by Samuel.
Custom mixed paint scheme with 12 layers of paint for both candy purple colors.
Paints are Gaia, Gunze, Vallejo, and Citadel.
This project took FOREVER and I frankly stopped keeping track of the hours once I hit 150. This is mainly due to all of the paint layers required to give the proper shading and depth I was after. Plus the fact that I'm a slow builder. lol Note that I also went with my concept of painting the frame in a lighter color than the armor. We often see MS frames painted in dark and/ or metallic colors, but I thought it would look much more interesting if the frame was a light color contrasted with the darker "candy purple" armor (kinda like my Ple Qubeley). Also note how I went farther with the idea of making the finish matte. I think this adds an interesting appearance to the candy surface and is actually more realistic and less toy-like than the usual gloss finish seen on candy colors (contrast with my Ple Qubeley...).
The pictures truly don't do the real thing justice and I'll try to take better photos (and a video) with my D5100 outside when it cools down in the fall... Until then, I think these pics will suffice.
With this project done, I'm done building Kshatriyas. Too much of my life has been taken up with these things and it's time to move on. Still, I'm the "Ple Guy" so I had to at least make this one. ;-) (Wink) As for how Ple could end up piloting the Kshatriya, below is the story file I created to go on the base when I have a custom label printed later...
An Alternate Timeline...
In the original events of ZZ Gundam, Elpeo Ple sacrificed herself to protect Judau Ashta from the Psycho Gundam Mk-II piloted by her clone, Ple Two. However, in this alternate timeline, Glemy Toto’s attempts to clone Ple failed... and as a result, Ple didn’t die at the hands of her now-nonexistent clone. Thus, the “butterfly effect” of the changed timeline allowed Ple to survive the First Neo-Zeon War.
With the First Neo Zeon War over, Ple headed to Jupiter with Judau and Roux, but eventually grew bored with her relatively peaceful life (not to mention her “third-wheel” status with her friends), and decided to return to the Earth Sphere. During the long voyage home, she was disappointed to find that she missed the events of the Second Neo-Zeon War (Char’s Counterattack), and vowed to never miss out on any further action.
So when Ple heard about Full Frontal’s group of Neo-Zeon remnants, The Sleeves, she joined them without hesitation (and received the customized purple Kshatriya for her personal MS). This was because of a longing for excitement more than any kind of belief in Neo-Zeon ideology, and the battlefield was once again filled with the giddy shout of, “Purupurupurupuru!”. However, she quickly switched sides when she discovered that Frontal was merely using her as a “test” against the Unicorn Gundam’s NT-D system (her ability to defeat her own NT-D-controlled funnels and fight the Unicorn to a standstill is a significant departure from the original timeline).
Being a natural Newtype and not subject to the side-effects of the Cyber-Newtype process (complicated by the horrible events of childhood), Ple was able to avoid most of the unfortunate, and ultimately fatal, events that befell her clone, Marida Cruz (Ple Twelve), in the original timeline. As a result, she and the Kshatriya were able to survive the Third Neo-Zeon war relatively unharmed... a feat for which she rewarded herself with a nice, long bubble bath.
In late 1815 and early 1816, the Lafitte brothers agreed to act as spies for Spain, which was in the midst of the Mexican War of Independence. The brothers were collectively known as "Number thirteen". Pierre would keep the Spanish informed of happenings in New Orleans, and Jean was sent to Galveston Island, a part of Spanish Texas that served as the home base of privateer Louis-Michel Aury, who claimed to be a Mexican revolutionary.[57] By early 1817, other revolutionaries had begun to congregate at Galveston, hoping to make it their base to wrest Mexico from Spanish control. Lafitte visited in March 1817.[58] Two weeks into his stay, the two leaders of the revolutionaries left the island. The following day, Lafitte took command of the island and appointed his own officers. On April 18, he sailed for New Orleans to report his activities.[59] With Spanish permission, Lafitte returned to Galveston, promising to make weekly reports of the activities there.[60]
Lafitte's motives were not selfless; he essentially turned Galveston Island into a new Barataria. Like Barataria, Galveston was a seaward island that protected a large inland bay. It had the advantage of being outside the authority of the United States, and it was largely uninhabited, except by Karankawas.[61]
Lafitte quickly began improving his new colony. Existing houses were torn down, and 200 new, sturdier buildings were constructed.[62] Ships operating from Galveston flew the flag of Mexico, but they engaged in no revolutionary activities, as Lafitte worried about a potential Spanish invasion.[63] Aury returned to Galveston several months later, but left in July when he realized that the men were unwilling to revolt.[64]
In less than a year, Lafitte's colony grew to 100–200 men and several women.[65] All newcomers were personally interviewed by Lafitte and required to take an oath of loyalty to him. The headquarters of the operation was a two-story building facing the inland harbor, where landings were made. The building was surrounded by a moat and painted red; it became known as Maison Rouge. Most regular business was conducted aboard Lafitte's ship, The Pride, where he also lived.[66] Lafitte created letters of marque from a nonexistent nation for all of the ships sailing from Galveston. These letters gave the ships permission to attack ships from all nations.[67]
In April 1818, the United States passed a law prohibiting the import of slaves into any port in the United States. The law left several loopholes, however. It essentially gave permission to any ship to capture a slave ship, regardless of the country from which it originated. Furthermore, any newly imported slaves who were turned over to the customs office would be sold within the United States, with half the profits of the sale going to the people who turned them in. Lafitte worked with several smugglers, including Jim Bowie, to profit from the poorly written law. Lafitte's men would target ships that carried slaves. Smugglers would purchase the slaves for a discounted price, march them to Louisiana, and turn them in to customs officials. A representative of the smuggler would purchase the slaves at the ensuing auction, and the smuggler would be given half of the purchase price. The smuggler was then the lawful owner of the slaves and could transport them to sell in other parts of the United States.[68]
The colony experienced hardships in 1818. After a Karankawa woman was kidnapped, the Indian tribe attacked and killed five members of Lafitte's colony. The corsairs aimed the artillery at the Indians, killing most of the men in the tribe. A hurricane in September covered almost all of the island in water, killing several people and destroying four ships and most buildings. Only six homes were habitable afterwards.[69]
Around 1820, Lafitte reportedly married Madeline Regaud, possibly the widow or daughter of a French colonist who had died during an ill-fated expedition to Galveston. In 1821, the schooner USS Enterprise was sent to Galveston to remove Lafitte from the Gulf after one of the pirate's captains attacked an American merchant ship. Lafitte agreed to leave the island without a fight, and in 1821 or 1822 departed on his flagship, the Pride, burning his fortress and settlements and reportedly taking immense amounts of treasure with him. All that remains of Maison Rouge is the foundation, located at 1417 Avenue A near the Galveston wharf.
-Wikipedia
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.
Twenty Twenty - The Essential T Bone Burnett 40 Song Career Retrospective Set For Simultaneous Release
NEW YORK, March 23 /PRNewswire/ -- T Bone Burnett will emerge from a 14-year hiatus as a recording artist to release The True False Identity -- a collection of entirely new songs written and produced by T Bone -- on May 16 on DMZ/Columbia Records. That same day, Legacy Recordings will release the 40-song, 2-disk Twenty Twenty - The Essential T Bone Burnett, the first-ever career retrospective from this quintessential American songwriter and musician. The DualDisc version of The True False Identity features vidiosyncrasy, a 20-minute film created exclusively for this release. Directed by Jesse Dylan, vidiosyncrasy captures T Bone in a special solo performance of songs and spoken word.
The songs on The True False Identity are the opening of a whole new musical chapter in T Bone's career. According to T Bone, the aim of The True False Identity is to "erase the nonexistent line between comedy and tragedy." The True False Identity is divided into two sections of six songs each: Art of the State includes the songs "Zombieland," "Palestine Texas," "Seven Times Hotter Than Fire," "There Would Be Hell To Pay," "Every Time I Feel The Shift," and "I'm Going On A Long Journey Never To Return" while Poems of the Evening features the songs "Hollywood Mecca of the Movies," "Fear Country," "Baby Don't Say You Love Me," "Earlier Baghdad (The Bounce)," Blinded By The Darkness," and "Shaken Rattled And Rolled."
The songs that make up The True False Identity were conceived during a period of isolation in which T Bone wrote "about 200 pages of couplets and verses, all in longhand." He honed those pages into songs, entered the studio with a thoughtfully selected band of top-flight musicians -- including Jim Keltner, Marc Ribot, Jay Bellerose, Carla Azar, Dennis Crouch, Keefus Ciancia and Bill Maxwell -- and created the extraordinary music that propels the album. The unique percussive and rhythmic textures of The True False Identity are anchored by the use of three drummers on most of the album's tracks, and T Bone's production approach also utilized guitars, bass and keyboards as percussion instruments. "I wanted to put listeners in the middle of this new sound, to experience it almost in 3D," says T Bone.
The musical genesis of The True False Identity has its roots in the records T Bone and his musicians immersed themselves in while recording. Burnett acted as DJ for those sessions, spinning records and videos between takes. "We were listening to Bo Diddley, Howlin' Wolf, The Carter Family, and a lot of Haitian music," he says, "so the axis this music turns on is some kind of line drawn from New Orleans through Mississippi and Tennessee to Haiti."
A definitive overview of T Bone's recording career from 1976-1992, Twenty Twenty - The Essential T Bone Burnett includes songs dating back to the groundbreaking Alpha Band (the group formed in 1976 by T Bone, Steven Soles, and David Mansfield, fellow travelers in Bob Dylan's Rolling Thunder Revue); tracks from each of T Bone's solo albums; rarities including "The People's Limousine" (the single T Bone recorded with Elvis Costello as "The Coward Brothers"); and previously unreleased material.
Twenty Twenty - The Essential T Bone Burnett includes a revelatory song-by-song annotation written by T Bone Burnett and a fascinating new essay chronicling T Bone and his times penned by noted pop music critic and author Bill Flanagan.
Albums represented on Twenty Twenty - The Essential T Bone Burnett include The Alpha Band (Arista, 1976); Spark In The Dark (Arista, 1977); Truth Decay (Takoma, 1980); Trap Door (Warner Bros. EP, 1982); Proof Through The Night (Warner Bros., 1983); Behind The Trap Door (Demon EP, 1984); T-Bone Burnett (Dot, 1986); The Talking Animals (Columbia, 1988); and The Criminal Under My Own Hat (Columbia, 1992).
T Bone's 14 year hiatus from recording and performing paved the way for one of music's most multi-faceted and successful careers. His multitude of musical identities include: Grammy-winning producer (the "O Brother, Where Art Thou?" soundtrack, the Tony Bennett and k.d. lang album, A Wonderful World); Oscar-nominated songwriter ("The Scarlet Tide" from Cold Mountain); indie record label founder (DMZ Records); soundtrack composer/Executive Music Producer (Walk The Line, The Big Lebowski) and versatile studio wizard (David Poe, Elvis Costello, Roy Orbison, Tony Bennett, k.d. lang, Alison Krauss, Counting Crows, the Wallflowers, Sam Phillips, Gillian Welch, and Ralph Stanley).
This was my first time actually plane watching at Miami International Airport (MIA). I checked some spotter websites to find some good locations. They recommended The Holes as being an "official" site so we checked it out. I was pretty disappointed; there was a lot of construction going on and parking was nonexistent. My wife dropped me off. The area is totally exposed. Even though it was December it was pretty hot - no shade, no place to sit, no other people around. The holes are actually pretty small so it's hard to get a lens through the hole. Arrivals were almost impossible to shoot but you could see planes taxiing by for takeoff. After an hour I was cooking so we bagged it. We then went to the area close to the El Dorado furniture store. Much better. There were a bunch of spotters from around the world there. It was a great atmosphere. Nicely shaded, safe, close to some stores and a lot of good traffic to watch. I saw a bunch of planes from airlines I had not seen before, including some airlines I had not heard of. Some of the planes didn't show up on Flight Radar 24 so they were very pleasant surprises. All in all a very good day and I'd love to go back there!
I took these photos in December 2019.
One really can never get enough of Benedict Cumberbatch... most of the planet is still waiting for Sherlock Season 5 to finally be filmed. But in the mean time, there's of course his biggest money maker, Dr. Strange.
Strange was most recently seen headlining the first half of the Avengers Infinity Saga - Infinity War, while coming back for the climactic battle with Thanos in Endgame. Hot Toys and Marvel Legends did their versions of this character a while ago, and now it was time for Figuarts and Mafex, with the latter being out of my price range... for now.
I do get bored, after all.
As the fancy box indicates, this is Strange from the Battle on Titan, before he made that ultimate sacrifice and disappeared for a movie. It comes decently packed, though is missing two key items - the multi armed effect, and a FREAKING STAND TO LEVITATE HIM WITH.
Contents do, however, include the figure, an alternate eye closed sculpt, 14 posing hands, one additional Crimson Bands of Cytorek hand, two small and medium Time Stone hand effects coupled with one "large" effect, two small, medium, and large general orange effects, his mystic sword, interchangeable Eye of Agamoto and Time Stone chest effect, and finally, a giant ass portal effect.
Even from the prototype pictures, it's easy to see that Tamashii Nations improved the figure aesthetically. I say that because I only own components of the first figure. Two major areas of discussion, namely the sculpt and the cape.
The sculpt I'm pretty sure my photos speaks for itself. Like with most of the recent Avengers release.. again.. MOST, because their Loki is made of the stuff I laugh at. Tamashii Nations have done a damn fine job of capturing the essence of the actor. The first one really isn't that great., nailing maybe the hairstyle and general facial structure.
The cape isn't super fancy per se, but it IS a wired cloth cape, though sadly the section that drapes over the shoulder is rigid plastic. The work on the Mafex cape admittedly destroys this, as it really does look like a scaled down Hot Toys version. This cape, however, is far superior to the Wile E Coyote steam roller accident prop that came with the first one. It's truly a sight to behold, possibly being the worst toy cape I've ever seen on any toy, with the only redeeming value being that it's decently painted. Furthermore, this wired cape still allows for some pretty cool posing.
Having said that, we're now free to move on to this figure.
The outfit is multi layered, which does look nice. Unfortunately, those layers are made of some pliable, yet still pretty rigid plastic, which looks great but generally gets in the way of everything. There's even a warning about permanent deformation if you leave Strange in his crossed leg pose for too long.
The Eye of Agamoto is something you want to keep your eye on because there is a tendency for the piece to go flying should you move the figure too quickly. Also, the Eye is connected to two raised and painted lines that represent the necklace strap, rather than being on an actual strap.
The translucent plastics used for the effects are also somewhat concerning, given the fragility of them and all. Especially the sword, where you have to shove the handle into a fist. The larger mystic mandalas are printed on clear plastic, which are less fragile, but more susceptible to scratching. There's also lovely warnings in the manual about potential paint wear as you pose the figure and attach the various mystic effects.
From an articulation perspective, Strange is about the same as Bucky, except that Strange has pull down hips. Based on previous practices and general logic, I'm going to go ahead and guess that they probably reused the actual body. You get ankles, single jointed knees, hips with thigh twist, waist, mid torso, standard shoulders with butterfly joints for lateral movement, single jointed elbows, wrist, neck, and head.
I've mentioned the hips, so here's some other highlights. The ankle joints are terrible, probably due to the bulk of the boot. Basically they're nonexistent. The coattails predictably get in the way of leg movement, as does the solid shoulder piece on the cape. All-in-all, it's a functional body with decent posing options, but I can't help but feel it's an older body that they didn't want to spend money to bring up to Ant Man standards.
Paint is generally above average. Work on the head and body are very good. Even in the areas of finer detail you can make out the masking is pretty sharp. Things like the Eye of Agamoto I can give a pass on as it is hard to get the paint into every tiny crevice. Paint work appears smooth. But, it's the hands that knock it down a peg for me. For starters, paint application is a bit thick, but maybe that's a material thing.
What you might not be able to make out is that wrist at the wrist there's a very small layer of black to help it blend in with the wrist and sleeves. The masking here is horrible.. like, they didn't even try, and it's consistent across all the hands I looked at. I wish they hadn't bothered at all, and just kept them as all flesh coloured.
Build quality, however, is all good. The usual criteria of joints, materials used, QC, tolerances, finish - none of those register a true concern or complaint from me and are up to what I expect from a Figuarts release.
Overall, I'd say this Dr. Strange is pretty much what the WW 84 Figuarts was like, namely its what they should have done in the first place, though I guess I can say that at least WW was better than Dr. Strange. While from an overall perspective the Figuarts certainly looks more like Benedict Cumberbatch as compared to the Mafex photos, you are getting a better articulated body and an outfit that works with you as opposed to against you... and a 120 USD preorder price tag.
To me, it's fascinating that each of the two figures chose a different key moment to include accessories for. Maybe this was planned so they didn't compete with each other?
*Sigh* I guess I'll just have to eventually get the other one too.