I did all the shitty work like cleaning bolts, sanding parts, prepping pieces for welding, and brush painting the motor. Every time he was in the shop I was in the shop. I have almost zero fabrication skills, but pops is a great welder and has enough of the bulldog-never-give-up attitude to get anything done. Pops and I spent almost every day after work in the shop trying to get this bike ready for EDR. It took us two weeks to turn our stock 883 Sportster into a 1250 in a rigid frame. We had our buddies at Haifley Brothers ship us their bolt-on hardtail kit, while we tore the donor bike down. We got an S&S 1250 kit and found a fork off a crashed Sportster S, and that made my 883 XL an even better version of the XL1200S we were originally looking for. With less than four months till EDR we started furiously looking for parts. My goal was to build a bike I could ride on the El Diablo Run so I wouldn’t have to drive down to San Felipe in a chase van. We turned down every bike we saw, but eventually came across a super clean 883 right down the street from us, so we scooped it up.Īfter we had the Sportster in our shop the race was on. You get a bike that was probably owned by someone trying to go fast on a budget, so their speed machine was held together with safety wire and zip ties. Buying a used 1990’s Sportster is kind of like buying a used 1990’s 3 series BMW. We found a handful of 1200 Sportsters around us and checked them out. Dad and I agreed that a Buell might be a little quicker than I really needed in a first bike, so we started the hunt for a 1200XL. After riding it I was blown away by how fun it was. He built a rigid chopper with a Paughco frame and a Buell motor and the second I sat on it I knew it was the bike for me. I really didn’t know what I wanted until my dad Bill Bryant finished a build for our buddy Dutch Rob. I love the look of long jockey shift panheads and big touring FXRs, but I couldn’t really see myself riding either of them. The main thing that made me want to ride was how fun all the trips looked you get all your gear together the night before and strap it to your bike, then you wake up early in the morning and meet up with your friends and ride to an epic place to camp and hang out-what’s not to love? After realizing I wanted a bike I did my research at events by picturing myself riding different bikes I saw. After about six months of working at Biltwell and going to events I eventually caught the bug. I’ve ridden dirt bikes since I was a kid, but the desire to ride on the street was just never there. I have never had much interest in Harleys.
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“Yeah,” agrees Lehdontie, who regards his band’s music as “an accumulation of the ideas and overall mentality of 60s and 70s experimental pop, with a modern approach”. It’s just that you have to plough your way through a lot of dense playing to find them. Never fear: there are snatches of melody throughout Ruination’s six tracks. Which one? The flip character behind The Laughing Gnome, or the one who contrived Station to Station? It doesn’t take long to realise that, in the run-up to recording Ruination, Kairon IRSE! spent longer listening to the multipartite epics of Todd Rundgren’s Utopia than they did the pop Runt of I Saw the Light – the swirling, spiralling keyboard arpeggios of the 13-minute Sinister Waters II evoke blissful memories of passages from The Ikon. We knew we were going to like Ruination because one of the pieces of advanced press described it variously as “progressive shoegazing” and “music of the outer spheres” and in one particular standout line compared it to: “an irrevocably mentally unstable Gentle Giant and a severely alcoholic Todd Rundgren having a love child which, after being adopted to Russia, finds himself performing a rock opera in the Ural Mountains.” Todd Rundgren, you say? Ah, but which Todd? It’s like bands who say they’re influenced by David Bowie. For Ruination we didn’t do any gigs before we went into the studio – we were arranging and creating from the start, which is why the song structures are really strict.” “We did lots of gigs before we recorded it so the songs progressed through live jamming. “Our debut album had looser song structures,” explains guitarist Niko Lehdontie. Whereas Ujubasajuba was largely born out of improvisation and jam sessions, Ruination is the result of two years of careful composing, arranging and honing the chaos at Tonehaven Studios, with producer Juho Vanhanen at the helm and Tom Brooke recording and mixing. There are four of them, with assistance in the studio from Andreas Heino (saxophone, clarinet), and make no mistake, Ruination comes from intense, meticulous performing and assembling in the studio. If I use PM Plus it works perfectly fine to add metadata in PM - open the RAW in Photolab - Edit the image - and just export for eample a JPEG. This would then follow the logical rule of only one software deals with keywording. For the user all keywording would be done in their DAM either before or after being in PL5. That is provide a setting that if enabled would prevent PL5 from touching any keywords. Until DXO can sort out their import/export interface issues there is what would seem to be a very simple solution and one that has been requested. As an old history teacher too I think it´s great fun and very intresting. When I now are tagging my old images from Petra Jordan - the lost city - that i took 1973, two months before the Jom Kippur War, I now mostly can find the right namnes of all the tombs and all other remnants that was created more than 2000 years ago down there in Wadi Musa (or the Valley of Moses as it is called in english). When adding descriptions to these images today I have a fantastic support from the Internet and Google where I can refresh both my own memories and even deepen my own knowledge a lot when I write my reports and stories. Sure, but the work I put in now in this is also very much motivated by refreshing my own memories and preparing them as a support for my own memory when getting older and for my younger relatives if they will be intrested in a future. We don’t have to run a mini on our personal archives, we just need to be able to find the photos we want when we want. We can all get 90% of the distance just by keeping photos organised by date in OS folders, using intelligent folder titles and dropping some basic keywords on our albums as we go. Gabrielle Hartley was severely burned when her cloak brushed over a hot "flash pot" used in a live, on-stage, special effect, and her role had to be assumed by her understudy. This production was stage managed by Sue Nattras, Simon Wincer and Jim McElroy. Appearing on stage with Max, Curley and Nancy were Fredd, Fee Fee, Mother Hubbard, Crystal Ball, Hep Cat, Montmorency, Cassius and Leonardo, all played by the regular TV cast. In this adventure, Sir Jasper and Gaspar had banished Clocko the chief clown (Max Bartlett, again playing a dual role), and Spangles the trapeze artist (Gael Dixon), from their circus, and taken away Clocko's smile. Liz, herself, played a rag doll, Max Bartlett was a tin soldier, and John-Michael Howson played a glum clown, a portrayal which would inspire his Adventure Island character of Clown.Ī specially written Magic Circle Club episode, "The Stolen Smile", was performed live on stage at the Tivoli Theatre (Melbourne) from 27 December 1965. Towards the end of the TV series' run, stories were serialized across only four days, with the Friday program dedicated to a separate story, told by Liz Harris, about toys which come to life in a toyshop when the owner was absent. The IKAN educational segment was eventually dropped, and Leonardo would present his limerick segment from a tree stump in the Magic Forest. Cassius inhabited a longcase cuckoo clock next to Mother Hubbard's cupboard in The Magic Cottage, and Leonardo lived inside the IKAN (Instantaneous Knowledge Accumulation Network) computer (voice of Fred Tupper). These characters were wood and felt bird puppets (created by Axel Axelrad voiced by Colin McEwan). Each episode finished up with the hostess sitting on a large mushroom, with Fredd crouched beside her (usually after dusting off the stool with a handkerchief), while the pair shared viewers' letters and artwork.ĭaily features included viewers' riddles with Cassius Cuckoo, during "Cassius Cuckoo's Corn Corner", and limericks with Leonardo de Funbird. Storylines were typically serialized across five days, with the Friday program usually wrapping up the week's adventure. Even Nancy Cato played a chambermaid, Sweet Nelly, in a Barbary Coast pirate storyline. Ernie Bourne and Colin McEwan often doubled up roles to play guest villains. Max Bartlett often played additional guest characters, including Harley Quin, a harlequin performer, King Size of nearby Enchantmentland, wicked innkeeper Simon Sneak of the Cross and Bones, or Mother Hubbard's accident-prone great-nephew, Claude Clumsy. Twoddle & Boddle (Laurie Allen and Bobby Bright, aka Bobby & Laurie of The Go!! Show) were analogs of Tweedledee & Tweedledum, characters the pair had played previously in a pantomime. Recurring guest characters included BoBo the clown (Charles "Hal" Turner), Montmorency James Rabbit (Ernie Bourne), Sebastian Bear (Gael Dixon), and Aunty Vale ( Bunney Brooke). Regular characters were denizens of the Magic Forest: mute Fredd Bear (Tedd Dunn, also the costume designer) shrill Fee Fee Bear ( John-Michael Howson, billed as John Howson) feisty Mother Matilda Hubbard (Fred Tupper, a former radio star) sensible Max (Max Bartlett) Shirley Temple analog Curley Dimples (played by adult Gael Dixon, also the show's choreographer) beautiful enchantress Crystal Ball (Gabrielle Hartley) and her pet, Hep Cat (Nola Finn) Marlena DeWitch (Marion Weir) and villainous Sir Jasper Crookly ( Ernie Bourne) and his henchman Gaspar Goblin ( Colin McEwan). In 1966, the TV series won the first Logie Award presented to a children's show, for Outstanding Contribution To Children's Television. A later addition to the regular cast was Liz Harris, who also took over as hostess when Nancy Cato suffered temporary paralysis and had to use a wheelchair. The show was hosted by Nancy Cato, cousin of the author of the same name. Music was by Bruce Rowland and scenery designs by Brian Thomson. Max Bartlett became a regular script writer in addition to his on-screen roles. Godfrey Philipp was the producer and director, with many scripts and song lyrics by John-Michael Howson. Some older female characters were performed by males, in pantomime dame style. It often featured music, original songs and dance routines. The program's style came from live pantomime and classic fairy tales. The Magic Circle Club was an award-winning Australian children's television show, produced at ATV Channel 0 (now ATV-10) from 23 January 1965 to 1967. |
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