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Street Art and Going Solo: An Interview with Hugh Madden
June 11, 2018 Paul Carroll
Hugh Madden is a comic creator and street artist. His work includes The Duck and the Duchess and Madame Moustache, as well as commissioned art around the streets of Dublin.
You work alone on your comics; is this a conscious choice, or are you just waiting for the right collaborator?
I work alone mainly because I started out knowing nobody who wrote/drew comics so I had no-one to collaborate with. And over the years, I've developed a way of writing and drawing that is very interlinked and also completely allover the place and nothing (including dialogue, plot, faces) is finalised until I've inked it. And even then I've tippexed out entire panels and thrown out pages. I like the freedom to be able to change everything around on a whim and I could only imagine how frustrating it would be to work with someone like me. I like the IDEA of collaborating with someone (Goscinny and Uderzo always made it look good! (see attached)) but I suspect it wouldn't work and we'd both end up frustrated.
How do you decide which ideas to work with if you're working solo?
Usually it takes me a day or two of playing around to figure out whether an idea is just a flash in the pan or if I can make something out of it. It's usually starts off something like "What if A did X?" and then I work out who A is, what A looks like, the style I want to draw A in, what is X? All those things can fluctuate wildly. Depending on the character I'd do research on how they dress, where they'd live, develop other characters for them to interact with, work out who is in A's way, are they a simple villain or more complex? And often the idea will just fall flat. Sometimes it's because the plot won't work, or the setting is wrong, or the characters don't connect with the plot once they have been developed or much more likely it's just something derivative and it takes you a while to realise that. When that happens I just put them away, hoping that someday the right plot for the characters will come along or vice versa.
But even when everything seems fine in my head, when the characters, plot etc meld perfectly, it can end up going off the rails. Sometimes the characters develop on the page differently from how you thought they would and then you are no longer able to corral them along to the ending. Other times you just get stuck and can't figure out how to get from page 5 to page 7. When that happens, I just put it aside for a few days in the hope of being able to look at it with fresh eyes.
But the best test is always when I ask myself, are you interested enough in these ideas/characters to waste time making this comic? And if the answer is yes, then I go for it!!
What's your production process like? Do you script the whole book first, or do you make it up as you go along?
As I've said, my production process is a mess. I generally know how and where the book is going to end but if the book evolves I'm not wedded to it. Often the biggest hurdle is figuring out how the comic starts. I generally squash character design, page lay out, thumbnails and script onto the one page, so one page of dialogue can be scattered over several pages of doodles. I usually go back and number the dialogue so that I know what panel I want it to be in but that is more of a guideline. Anything can change on the page. Normally I have a solid idea and layout concept in my head for 4-5 pages at a time and by the time I've finished pencilling those pages, I know what to do with the next batch of 4-5 pages. I don't wait until I've finished pencilling the comic to ink a page. I usually start inking early once I am convinced that the page is ready. (And partially so that I stop worrying about whether it will ever be ready)
Your art has popped up along the streets of Dublin; how did that come about? Do you think it's beneficial to experiment with art like that?
This is part of the Dublin Canvas project (www.dublincanvas.com) I saw a poster in relation to it when the project was still in its beta testing stage and kept an eye out until it was looking for more submissions. I applied and one of my submissions got chosen and I have applied every year since. Both my comics and my street art tie in to Irish history and folklore and I think that working on a different scale and with different tools keeps me from getting bored in one medium. And I always find that experimenting sparks inspiration.
You've been getting involved in the Irish comic scene more and more; have you faced any barriers to entry?
The only difficulty I had with getting into the comic scene here is finding out about it. Often the only way I hear about an event/market/festival is when I am told about it by people at a different event/market/festival. The actual applications are usually straightforward it's the finding out that is difficult.When young people stop by my stall and talk about how they want to get into comics, I tell them about the different events I attend and how they can apply for them too and they often seem surprised at how easy it is to get a table.
How have you found the process of finding an audience for your work?
Finding an audience is without doubt one of the more difficult parts of comics and always the thing I think about after I've made the comic (ie too late!) I'm always struggling to find an audience but I think/hope that if the art is good enough the audience will eventually find you. It's important to keep putting your stuff out there on facebook/instagram/twitter where ever you can but going to markets etc is a really good way to find out who your audience is. Because you will always be surprised at who makes a real connection with your comics and it feels great when they do. But I have about 100 followers on twitter so take all my advice with a LARGE grain of salt!!
What's your one tip for people wanting to make a start in comics?
Just do it. Don't hang around waiting for the right day or the right pen or the right atmosphere. Just sit down and force it out of you. Make it short and self contained but do it! Because your first comic is not going to be good. I know that mine wasn't! And the sooner you finish your bad first comic, you can do your better second comic and your even better third comic and so on and so on. You won't get better sitting on your hands or day dreaming.
My second "one tip" is to sign up for a table at one of the markets because that way you have a deadline to get your comic finished by and there is no greater inspiration than the knowledge that you need to make something/anything!! to put on your table!
What's next for you in the world of comics?
What's next for me is to finish inking my second "Madame Moustache" comic, I have a children's comic about Vikings that I have to finish and I have about 30+ pages of a graphic novel I would like to continue. And of course I have that drawer full of unfulfilled characters and unfinished plots to get through!
Tagged artists, blog, comic, comic books, comics, comix, dublin, entertainment, hugh madden, irish comics, small press, street artLeave a comment
Review: Swift
September 19, 2017 Paul Carroll
With Thought Bubble's comic convention on its way this weekend, Aaron Fever (Ship Wrecked, Frozen Waste, Artos) is launching Swift, the latest interpretation of the superhero genre from an Irish writer. The creative team involved gathers a lot of experience and talent in one issue, with line art by George Kambadais, colours by Rebecca Nalty, letters by Hassan Ostmane-Elhaou, and Declan Shalvey as Editor. I was fortunate enough to get a digital copy sent to me by Fever for the sake of this review.
Swift is a classic coming of age story, about a wheelchair bound teenager waking up on the sixteenth birthday to discover he has a superpower, and needing to figure out his place in the world with this sudden change. (That's all you get out of me on that; aside from a no-spoiler policy, I'm not here to summarise the book for you!)
Compared to other superhero books by small press creators, it makes a delightful change. We're not given a world-saving hero in Swift, but a real, human boy who just wants to paint. We're not given a star athlete turned Superman-knock-off, or a team of eclectic Irishness in spandez. Fever uses the genre to tell a story about how a boy finds his place in his family, and in the world.
Kambadais and Nalty perform excellently together, giving us a charming family tale with the spark of Marketing Buzz that the heroes of Swift seem to demand. There's a lot of movement throughout the comic, with the feel of a montage rippling through the pages, loud splashes of colour making up for the silence of paper (or the whirr of my laptop fan.) With the additional of Ostmane-Elhaou's letters, the comic guides us through one of the more difficult times in a person's life (growing up; not all of us go through superhero training at the age of sixteen) with all the excitement of possibility, and the dread of change, blended in a way only comics can achieve.
I adored this book. There are no other words for it. Perhaps it's the superhero fan in me, or the Young-Adult-obsessed reader that's yet to give up on the classic coming-of-age narrative, but I didn't want to stop reading the book once I'd started, and wanted to go back and read it again once I'd finished. It doesn't bury itself in unnecessary complexity; Swift is an honest story, packed with wit and humour. If you're fortunate enough to get to Thought Bubble this weekend, this is one for your shopping list.
Tagged aaron fever, artists, blog, comic, comic book, comic books, comics, comix, conventions, Declan Shalvey, dublin, entertainment, George Kambadais, Hassan Ostmane-Elhaou, indie comics, ireland, irish comics, leeds, life, Rebecca Nalty, review, science fiction, small press, superheroes, thought bubbleLeave a comment
#ComicsAtDCC 2017
August 10, 2017 Paul Carroll
The biggest weekend for Irish comics is here: Dublin Comic Con. Thanks to Declan Shalvey, the hashtag #ComicsAtDCC began on Twitter, making the job of easily identifying what'll be available that little bit easier. I've gathered a bunch of titles here from what I know about and what I could pick up info about online.
All Ages Comics
Going by my own experiences attending Dublin Comic Con in the past, the All-Ages titles are few and far between. I've collected the few that I know about here, to make things easier for readers with kids to find something age-appropriate for them.
Fate by Anthea West. Click here for our review.
Freya, Written by Tracy Sayers, Art by Trisha O'Reilly
Wren #13, Written by Paul Carroll and Jason Browne, Art by Jason Browne, Lettered by Phil Roe
Rabbit and Paul, by Seán Hogan. Click here for our review.
The remainder of the Irish small press, as far as I know, is not quite as suitable for children as the above comics. While some titles may be – it's a judgement call by parents – there are some that might traumatise kids.
The Guards, Written by Shane Ormond, Art by Kevin Keane
Chuck, Written by Paul Carroll, Art by Conor Carroll
100 Times, by Katie Fleming Deluxe Edition launches at Dublin Comic Con with additional material. Click here for our original review.
Brain Fetish by Kinga Korska. Click here for our review.
Carrie & Rufus, by Ben Hennessy
The Broker, Written by Wayne Talbot. Massive creative team listed in review
Will Sinister, Written by Hugo Boylan, Art by John Quigley. Check out our review here.
Clone, by Hugo Boylan, Tara Ferguson, Rebecca Reynolds and Kerrie Smith. Check out our review here.
Hoda Machine, by Leeann Hamilton
Red Sands, Written by Ciaran Marcantonio, Art by Cormac Hughes, Colours by Triona Farrell
How to Live With Your Cat, Written by Paul Carroll, Art by Gareth Luby
Meouch, Written by Paul Carroll, Art by Gareth Luby
The Waves That Breaks, by Aaron Lotsy
Frozen Waste, Written by Aaron Fever, Art by Clare Foley
The Fort Night Comic Project, Written by Dave Hendrick, Art by Peter Marry, Colours by Dee Cunniffe
Solstice, Written by Danny McLaughlin, Art by Nathan Donnell. Books 3 launches at Dublin Comic Con. (As far as we are aware!)
Project Crossroads, Art by Seán Hogan, Stories by Hugo Boylan, JP Jordan and Adlai McCook, Colours by Stephanie Reville and Dearbhla Kelly, Letters by Kerrie Smith, Flats by Louise Fitzpatrick. Check out our review here.
Solo-Q by Jeklly Draws
Special Mentions
Sometimes, writers and artists work on things that aren't comics. Launching at DCC, or just released this year, are:
Maelstrom, by Paddy Lennon – Book 3 of the Flare Series
A Little Book of the Coen Brothers, a Sketchbook by Brian Burke
A Death in the Family, by Paul Carroll, launched at K-Con earlier this year
As well as all of that, attendees will also be treated to the presence of a few of Ireland's greatest comic creators, including Will Sliney, Declan Shalvey, Stephen Mooney, John Cullen, Triona Farrell, and Robert Carey. Anthea West and Leeann Hamilton, whose books can be seen in the list above, are also on the billing.
It's going to be a busy weekend. There's a lot to look at it, so many books worth reading, and so many artists and other creators whose work cries out to be picked up.
I'll be in attendance as a vendor this year, but I had the utmost pleasure of getting to review a lot of the upcoming books for this year's event. For those who don't know, I'm Paul Carroll – just breaking into comics, hence the plethora of new books. Because Comix Ireland is a one-man show, you won't find reviews of anything (or by anyone) I'm involved in (with) here, which includes anything by Gareth Luby, Tracy Sayers, or Jason Browne of Buttonpress. There's objectivity, and then there's bias, and the line gets a little bit finer the closer you get to a book. As for every other book on the list, you'll likely see reviews popping up ahead of other events. I personally can't wait to see what these amazing creators, and the ones who aren't on this list, have to offer in the years to come.
Tagged artists, blog, business, comic, comic book, comic books, comics, comix, dublin, dublin comic con, entertainment, graphic novel, indie comics, ireland, irish comics, marketing, new releases, review, small pressLeave a comment
Review: Fate
August 9, 2017 Paul Carroll
One of Ireland's longest running web comics is taking its first three chapters and going into print. Fate, by Anthea West, is launching with a collected volume of its first three chapters (and an exclusive print-only prologue!) at Dublin Comic Con this year. The book comes with cover colours by Triona Farrell, a map by Katie O'Meara, and additional colours by O'Meara and Rebecca Nalty. Following an incredibly successful Kickstarter earlier this year, West is ready to bring her beloved back to the convention floor.
Fate is an all-ages comic that combines West's great sense of humour with a fun and vibrant adventure story. Following the misfortune's of the only talking dustbunny – later named by another character as 'Bunny' – Fate builds up a large, fantastical world with each twist and turn. In a world populated by humans, fauns, dustbunnies, mermaids and demons – and probably a whole lot more – there's a lot to be discovered with every turn of the page and addition to the site.
West's sense of humour and style of illustration are perfect for her intended audience, painting a colourful story world filled with friendly and easy-on-the-eye protagonists, and menacing beasts with their eyes (and stomachs) settled on hunting down Bunny. With her art loaning itself equally well to its adorable protagonist and all the nastiness that aims to devour him, readers are in for a visual delight.
The book is certainly a lot less serious than most of the other titles released by Irish creators, but that doesn't stop it dealing with themes of friendship, prejudice, and finding courage as an unwilling hero. While it's still quite early in the tale, there's a lot to uncover within the story about the world, its people, and the things that bind them together. Definitely one to check out, especially if you're looking for something child-friendly from the Irish small press creators.
Check out Anthea on Twitter at: @antheawest
Tagged anthea west, artists, blog, comic, comic book, comic books, comics, comix, dublin, dublin comic con, entertainment, fantasy, fate, graphic novel, indie comics, ireland, irish comics, review, small press1 Comment
Review: Clone
August 7, 2017 August 7, 2017 Paul Carroll
Clone is another new comic from Hugo Boylan, one of Ireland's most prolific small press writers. This time, he's teamed up with Tara Ferguson on the story, who also took up the role of artist for this mind-mess of a comic. Joined by Rebecca Reynolds on colours and Kerrie Smith on letters, this is one of those books that makes you question everything from dinner to your reflection (and, in some cases – like mine – your twin brother.)
I was warned that this would be a weird book. I did not expect this sort of weirdness. It's the sort of lingering weirdness that akin to sand on a beach, getting everywhere, even long after you think you've cleaned it all up. But it's also akin to the lasting sensation of a good drink. It's maybe not good for you, but you want it to last a little bit longer.
When dissecting a comic, I don't normally start with the letters, but as Smith's intelligent design in the book comes early in the story, I'll start there. A pair of stories unfolding simultaneously in the book's opening pages requires either (a) the audience to figure out which is more important or (b) smart lettering. Smith helped with the latter, adding opaque speech bubbles to the messy subplot of the first act. (I mean messy in a "get it off me" sort of way; on a narrative level, it worked incredibly well.)
The story deals with a lot with identity, responsibility, regret, and insanity. There's not a lot to say that won't spoil the book that'll spoil your appetite, so let's say this: I really enjoyed the story – which isn't for everyone, but which is worth trying – and while I won't say it had a nice ending (nice in the "you look nice" sort of way), it was ended well. Nothing in the story is "nice", which is perfectly fine for a book that doesn't pretend to be something it's not.
Ferguson's art style is simple, but suitable. With a relatively complex story to tell in a few short pages, there's no room for playing around with mind-numbing artwork – though I can see something more complicated being suitable for her storytelling in the future, if this book is anything to judge her taste and style by. I should note, simple isn't a bad thing. Simple makes the story tell itself, and simple worked. The visual elements of the book were, when they weren't supposed to be otherwise, easy on the eye. There's a lot to fit into the book – a lot that's supposed to look the same, if the title didn't give that away already – and she didn't let herself down.
Adding the Reynolds' vibrant colours, we're given a slightly chilling dichotomy of easy-on-the-eye images against a story that might make you want to rip your own eyes out – just to be safe that what you're not seeing isn't there.
Again, this isn't a book for everyone, but fans of sci-fi horror would probably find something they like in it. It's worth trying, and it's worth telling Hugo and Tara how insane they probably have to have been to write this book. The comic launches at Dublin Comic Con on August 12th.
Check out the creators on Twitter:
Hugo Boylan: @hugoboylan
Tara Ferguson: @TaraaFerguson
Rebecca Reynolds: @brobexx
Kerrie Smith: pocketkerrie
Tagged artists, blog, clone, comic, comic book, comic books, comics, dublin, dublin comic con, entertainment, fantasy, graphic novel, horror, hugo boylan, indie comics, ireland, irish comics, kerrie smith, new releases, rebecca reynolds, review, science fiction, small press, tara ferguson2 Comments
Review: The Broker
Launching at Dublin Comic Con, The Broker is the first book from podcaster Wayne Talbot. The book has an interesting publication history (and it's not even out yet!), originally intended to be released across three anthologies by Lightning Strike, and changing creative teams when it stood out by itself. The original creative team consisted on Wayne Talbot as writer and Miriam Abuin on lettering, both of whom remained throughout the entire project. For the book's first act, pages 1-10, Ruairi Coleman served as artist, with Timothy Brown on colours. For the remainder of the book, Brian Corcoran assumed the role of artist, with Talbot picking up colours. Ciaran Marcantonio resides over the book as editor as it reaches convention tables for the first time.
The plot of the book seems less tedious after putting the book's history into words; conceptually, it's simple, and thematically appropriate for the current political climate. Talbot deals with corruption, brutality and conspiracy throughout three acts, pacing the tale incredibly well across each part. The protagonists are believable in almost every aspect – we'll let the team away with the superb reflexes of their heroes due in part to the fact that comics allow a certain distinction from reality. Nothing is held back between the twists and turns of a plot centring around Brokers with their own visions of how the world should run, and wicked and scrupulous means of achieving their goals, playing with lives as chess pieces.
Readers can be understandably concerned when they hear about the change in artist between two parts of the story, but fear not: Coleman and Corcoran's styles compliment each other well. Where Coleman dealt with some of the more explosive scenes of the book, relying on dynamic movements between panels, Corcoran deals with the forensics in greater capacity, picking apart the plot with a fine pen. It helps that each artist deals with a different primary protagonist, with Corcoran and Talbot creating a new tonal quality to the book as it enters its second act. Talbot and Brown's colours blend well together, and while I would personally question one particularly vibrant background colour choice, Talbot succeeded in completing the colouring of the book as well as any seasoned creator could hope.
Between them, Talbot and Brown created a theme of colours to track throughout the book, working with Abuin's lettering to tie the whole piece together neatly. Reds carry violence, purples hint at the presence of the antagonists, and oranges case a light on Catelyn's past.
The risks involved in changing teams are many, but a book like The Broker was perfectly designed to make use of it in the best way. I would question it if the division in acts wasn't apparent in the writing, too, and any reader should worry when they see such a drastic change in a book's lineup; thankfully, The Broker blends its second team's styles with its original creators.
A couple of side notes before I finish: I love that there's a soundtrack to listen to while reading the book (interior back page, for those of you yet to read the book), and; Catelyn is perhaps my favourite single character from an Irish small press book. As well as being incredibly Bad Ass, she has a few choice panels that really stand out for me towards the end of the second act. When you've read the book, then you can ask about it if you don't immediately spot what makes her so relatable.
I look forward to something new from Talbot, whichever creative team he works with. And, while this is no criticism of The Broker, I'm thankful that the next project he's announced is less contemporary in nature, so that we might see more of how he creates, and less of the current politics that fills newsfeeds daily.
Follow the creators on Twitter:
Wayne Talbot: @waynetalbot
Miriam Abuin: @miriamabuin
Ruairi Coleman: @ruairicoleman
Timothy Brown: @artoftimbrown
Brian Corcoran: @_brian_corcoran
Ciaran Marcantonio: @ciaronious
Tagged artists, blog, brian corcoran, business, comic, comic book, comic books, comics, dublin comic con, entertainment, indie comics, ireland, irish comics, lightning strike, miriam abuin, new releases, review, ruairi coleman, small press, timothy brown, wayne talbot1 Comment
Review: Will Sinister
One part Western, one part 'whatever-we-can-call-Boylan's-creative-madness', Will Sinister is one of a few new books launching at this year's Dublin Comic Con; we were lucky enough to be sent an advanced review copy. Hugo Boylan (Malevolence, High Fantasy, Black White and Grey, Superhero Helpdesk… you get the picture yet?) teams up with artist John Quigley (Malevolence) and letterer Kerrie Smith (Girls Like You, Superhero Helpdesk) to bring us a new tale of death, violence, and broken expectations. With Dearbhla Kelly on cover colours, it makes for a pretty package with a rustic interior.
There's an expectation from the book's beginning for there to be some traditional gun-slinging and contextually appropriate racism (maybe not slurs, exactly…but hate), and in many ways we're not disappointed. There's a clear divide between the "cowboys" and natives, and an unravelling tale behind this particular snippet of history.
Typical of Boylan, there's a twist in the feel of the book; also typical of him is the unpredictability of when something like this will happen. The particular splicing of spirituality with the Western tale is reminiscent of Jonah Hex and Preacher, and while the later arc of the book raises a few questions about the history of the comic's scruffy protagonist that aren't quite addressed, the blending of the natural and the supernatural works incredibly well in Will Sinister, while preserving the character's dodgy integrity.
Quigley's art gives the story a rustic, wild feel, perfect for the brutality of the dark reality of the era. Expertly capturing distress, agony and disgust, and he creates a visually disturbing narrative, with a few choice character designs standing out. As a bonus, the book contains the concept art for Sinister and his most intimate, primal companion. Perhaps its a bias for Irish small press, but it stands out as one of my favourite representations of the character.
Adding to the tale are Smith's experienced lettering hands. There's a sense of power given to certain characters, and the barriers between the natural and the supernatural are broken down further still with her inclusion in the book.
If I had to criticise the book, my one judgement would be that I felt like we're left with a loose end or two by its final page, and no promise within its pages of a follow-up. Maybe it's a personal thing, and a familiarity with continuing narratives across multiple books, but when a book ends the way Will Sinister does, I'd like to think there might be something to come later, and an opportunity for unanswered questions to be resolved. Don't let it put you off picking up Will Sinister at Dublin Comic Con; think of this as an excuse to keep an extra close eye on future releases from this team of creators.
(Update: the story will continue. Confirmed by Hugo Boylan shortly after this review went live.)
John Quigley: @johnquigley209
Dearbhla Kelly: @dearbhlala
Kerrie Smith: @pocketkerrie
Tagged artists, blog, business, comic, comic book, comic books, comics, dearbhla kelly, dublin comic con, entertainment, fantasy, horror, hugo boylan, indie comics, ireland, irish comics, john quigley, kerrie smith, review, small press1 Comment
Review: Red Sands
'Mad Max' meets vampires in Red Sands issue 1 from Lightning Strike Comics. I received a digital copy of the comic from the book's writer for review. Written by Ciaran Marcantonio, illustrated by Cormac Hughes, coloured by Triona Farrell, and lettered by Bob Kelly, the book collects two parts of a tale originally published in Lightning Strike 6 & 8.
While the divide in the story as a result of how it was originally published it slightly jarring (right up until the next page turn, that is), each part of the story presents the reader with different sets of information, and charges the tale with tension amidst the dystopian history lesson. Years of working in comics – and a collection that would leave casual buyers in awe – have prepared Marcantonio for the creation of this horrid world, haunted by a burning sun, long nights, and bloodthirsty vampires. There's a nice blend of tension-building with the narrative guidance of the book's protagonist, providing us with all the information we need to understand what's happening in the moment, without providing all the answers.
Hughes's artwork loads itself well to the style of the story. Snippets of gear changes and exploding blood bags capture quick movements, while lines of tension are drawn between panels as characters square off against each other, poised for strong words. With the addition of Farrell's colours, the story is brought to a dark and bloody life. Cool blues and stark yellows dominate the pages of the book, with deep reds drawing bloodied warning lines throughout the book.
There's a lot to like about this book. Dealing with issues of parentage, survival and the common good, this vampire dystopia is much more than meets the eye. The book is reminiscent of classic genre flicks from the 80s and 90s, from Mad Max 2 to From Dusk Till Dawn, with a climate change apocalypse thrown in for good measure.
While the exact cause of the events that led to Red Sands is still uncertain, one thing is clear: dying is almost inevitable. The sun will burn you up, human or vampire. The vampires will drain you as quickly as you drain your fuel tank. And, if Red Sands Testament (Writer: Marcantonio, Artist: Robert Carey, Colourist: Ruth Redmond, Letterer: Miriam Abuin) is anything to go by (a bonus story at the back of the book!), the battle is being fought on all fronts.
Red Sands is definitely one to check out for horror and sci-fi fans, and to give readers a good idea of the sort of stories Marcantonio can tell ahead of his upcoming graphic novel Neon Skies.
Cormac Hughes: @fhiacha
Triona Farrell: @treestumped
Robert Carey: @robcareycomics
Ruth Redmond: @ruth_redmond
Tagged artists, blog, ciaran marcantonio, comic, comic book, comic books, comics, cormac hughes, dublin, dublin comic con, dystopia, entertainment, horror, indie comics, ireland, irish comics, mad max, miriam abuin, review, robert carey, ruth redmond, triona farrell, vampireLeave a comment
Photos from DECAF, April 23 2017
April 26, 2017 April 26, 2017 Paul Carroll
On April 23rd, we saw the first Dublin Eight Comic Arts Festival: DECAF. Organised by Dublin Comic Arts with panels by The Comics Lab, the event saw to showcase some of the amazing comic art in Dublin with a market, panels, and a few familiar elements from The Comics Lab that were a welcome sight for those who arrived with kids. More on that later.
Entering the Fumbally Stables, attendees were greeted by Matthew Melis and Debbie Jenkinson, two of the organisers for the day. Matthew put together the market side of things, while Debbie arranged the panels. She was also responsible for the massive selection of comics for sale on the way in, from her, Sarah Bowie, Matthew, Paddy Lynch, Philip Barrett and more.
Julie Nick and Katie Fleming sat the first table as attendees entered the main market room (and we the first to be accosted for a photo!) Julie brands herself as a cartoonist, with a sketchbook and Pulp Stories Vol. 1 to show off (along with an amazing new print!). Katie, on the other hand, is a full-on comic creator, as artist for Helion and creator of 100 Times and 100 More Times (NB: gay werewolves) under her belt (along with a ton of prints!)
Nikki Foster and Hugh Madden were next in line. Nikki had a range of zines of varying sizes with her, which helped to showcase the variety of styles available in the Irish comics scene. Hugh had a range of strange tales featuring anthropomorphised animals – obviously I had to get my hands on them.
Pushing the limits of awesome strangeness were All Things Thom and Miriam Rodriguez. Thom had possibly the widest range of things with her, from t-shirts to stickers, prints and zines – including The Thom Guide to: What To Say When You Don't Know What to Say, which she says she's used at parties. Miriam had a range of Spanish-language comics with her, including one that had she censored on a second printing – roughly translating as 'things that are a pain in the ass', and featuring said pained-ass on the cover.
Seán Hogan and Dylan Drennan extended the diversity of Irish comics available on the day at the next table down. Seán brought Project Crossroads and Rabbit and Paul with him, respectively a sci-fi-fantasy-horror anthology and all-ages comics about a boy from Bally'O'Jhaysus who buys an anthropomorphised rabbit. (Try saying that with your mouth full!) Dylan, AKA Skabag, had Gayboy with him, a fun collection of artwork from someone who's only just entering the scene with a book.
Next in line were Clare Foley and Karen Harte. Clare is a traditional artist, creating her books in watercolours, and accidentally reminding people that she can draw hands really well. (We joked about this on the day. It was probably funnier then.) Karen is one of the editors and organisers of the MINE Anthology, a collection of artwork and comics about and in aid of the Repeal the 8th/Abortion Rights Campaign.
At the end of the row were Sarah Bowie and Luke Healy, joined here by Charlot Kristensen who designed the poster for the event. Sarah is one of the organisers of The Comics Lab, and had with a wide range of comics and zines, including one about how she's not related to David Bowie. Luke had a huge collection of comics of varying prices and sizes, showing off a multitude of stories and skills.
As well as having a market on the day, DECAF also provided an opportunity for people to tune in to two panels; Karen Harte led one, about activism and comics – following the successful publication of MINE, joined by three of the contributors to the book. She was followed by Luke Healy, Clare Foley, Katie Fleming and Olly Blake (pictured above) as they spoke about their inspirations in comics, and what they're working on now.
As well as panels, the Comic Labs also brought along drawing exercises for adults and kids alike, which took the burden of entertainment off some parents for a few minutes.
Attendees were also encouraged to partake in the Comic Swap, where books could be traded or bought from the table, based on what people brought with them.
The event was also catered by Kev's Kitchen, providing hot, cold and baked foods, along with a range of drinks.
All in all, it made for a fun day, and only the first for Dublin Comic Arts. They'll be returning on July 23rd, this time at the Dublin Food Co-op in Newmarket Square. If it's anything like the weekend's event, it'll be one to spend a day at.
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Design workshops kick off Febrary 2018! First...Site Programming. We're here, at last.
Novato Cohousing Now is a core group, ten households of active adults and families, has been meeting regularly to make sustainable, intergenerational cohousing a reality in Marin.
We've learned a great deal about site availability and cost models, and have teamed with CoHousing Solutions to move forward. We have our target site and kicked off our credibility phase with a Getting It Built Workshop on March 12 & 13, 2016.
Cohousing development dovetails nicely into both their ambitions. John is a graduate of the Katie McCamant's 500 Communities Program launched by CoHousing Solutions, and Judy is fulfilling her Leader Quest through her Coaches Training Institute's Leadership Program.


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Indoor air quality - Why monitor it?
Why is monitoring indoor air quality important?
Maintaining good indoor air quality in a building is critical for ensuring a safe and comfortable working environment. Poor indoor air quality can lead to what is known as "sick building syndrome" or SBS, of which symptoms include loss of concentration, fatigue, headaches, breathing difficulties and nausea. This can lead to lack of productivity and even lead to staff having to take time off to recover, especially those with existing medical conditions such as asthma.
Typical causes of poor indoor air quality include over-crowding, inadequate ventilation, contaminants originating from certain types of building materials, volatile organic compounds, particulate matter and radon. Each of these poses a different health risk.
In order to assess indoor air quality and determine whether or not there is a health risk requires monitoring and sampling. There are a variety of ways this can be done and determining the correct monitoring and sampling strategy is of upmost importance. Once the indoor air quality has been assessed the results can be compared against existing guidelines, such as the Health and Safety Executive EH40/2005 Workplace Exposure Limits. Appropriate measures can then be put in place to either maintain and/or improve the indoor air quality to a level that provides healthy working environment.
Who regulates indoor air quality standards?
UK and international thresholds and limits, particularly in the workplace, vary significantly. For example, the US Environmental Protection Agency and the US National Institute for Occupational Safety and Health have stated that peak carbon dioxide concentrations over 1,000ppm (0.1% v/v) are an indicator of poor air quality. Whereas the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE) Standard 62-2001 set an indoor guideline for carbon dioxide at no greater than 700ppm (0.07% v/v) above outdoor air levels. Therefore, with current background atmospheric concentrations around 400ppm, if a building occupier is in a space that encounters levels greater than approximately 1,100ppm (0.1% v/v) they are likely to experience some of the symptoms associated with SBS.
Graph 1: Time series data of continuous carbon dioxide monitoring within the office. Click to enlarge.
What actions can be taken to monitor indoor air quality in my building?
The graph above illustrates monitoring undertaken by GGS in an office building in Manchester. The occupiers of the building had been complaining about the indoor air quality and it was suspected that the ventilation system wasn't adequate. The graph shows a week-long snapshot of the carbon dioxide concentrations within one of the building's open plan offices (Photo 1). Although the carbon dioxide concentrations do not exceed the EH40/2005 guidelines for workplace exposure limits (5,000ppm), there are daily peaks in carbon dioxide concentrations between 1,100 and 1,400ppm during daytime working hours. The office was fully occupied by staff at this time, meaning that some staff may have experienced early symptoms of SBS during these periods.
The source of carbon dioxide was most likely from the occupiers of the building from the natural process of breathing. The building's ventilation system however did not appear to be sufficiently circulating enough fresh air in order to maintain carbon dioxide concentration at a comfortable level. Most importantly it was found that carbon dioxide concentrations were not returning to background atmospheric concentrations (c.400ppm) overnight.
What are the benefits of indoor air quality monitoring?
In this particular case, it was recommended that all practicable steps be made to improve indoor air quality. These include improvements to the current air conditioning and/or heating system at the building. The monitoring and sampling strategy undertaken by GGS at the site ensured that the indoor air quality was assessed in an efficient, cost-effective manner which provided both cost and time savings to the client. Steps were then quickly taken to ensure that the building's indoor air quality improved to provide the occupiers of the building a safe and comfortable working environment. This ultimately led to a reduction in staff sickness and an improvement in staff efficiency.
Photo 1: Discreet and silent continuous carbon dioxide monitor deployed in an office.
Featured on p48 of Tomorrow's Health and Safety magazine, November/December 2015.
 HSE (1995). How to deal with sick building syndrome (SBS), HSG132.


Dreaming of skydiving in Rhode Island? Well, you have one choice. If that dropzone doesn't suit your needs or if you want more options, look just across the border. There are other dropzones within driving range. Skydive Newport is actually between Newport and Portsmouth and close to Middletown. All dropzones aren't open all year due to the weather. Call ahead and make a reservation with your preferred dropzone. If you grab a few of your family or friends you may qualify for a group discount. There are restrictions with discounts. Make sure you get all of the details when you call.
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St. Luke Lutheran Church – An Epiphany Surprise!
Epiphany is a Christian festival observed on January 6th commemorating the manifestation of Christ to the gentiles in the persons of the magi. It also can be like a light bulb going off in our head, an aha moment! Yes! We finally get it. A surprise!
I'm sure this will come as a great shock to you; Epiphany is my favorite holiday! The gifts have been unwrapped; the wrapping paper is in the garbage. Some people have even put their trees in the garbage. For me, it is a time I can quietly sit and think of the baby Jesus as I look at my tree. I can have a quiet moment to reflect on the celebrations we just had and the amazing gift I received in this King Jesus. It is a time as a gentile that I celebrate Christ coming to me and into my life.
We had to work hard to have our first two daughters. At that time, they said if you had more than one child you over populated and had to pay more taxes. So to have a third was a big deal. And yet we felt called to having more children. We had looked into adopting a baby boy, probably Chinese, when we were surprised to find out we were expecting our third child, without even trying. I discovered nothing was like being 9 months pregnant at Christmas and Epiphany in 1973-74.
On New Year's Eve of 1973, we saw the movie Jesus Christ Superstar, and the baby I was to have was jumping like crazy to the music. On January 8th, I was at a sorority meeting far from home when my water broke. My college roommate, who had just learned to drive, took me to the hospital in a snow storm. It was quite an experience. Carla was born soon after on January 9th only a few days after epiphany. She was a special epiphany baby, a real surprise!
Please join in our 2nd Epiphany Brunch on Saturday, January 11th at 10 a.m. Keep the door open. Come and share with friends about the baby's mother Mary and bring a gift for the homeless.
Thank you, Beth. As a close friend of Carla's, I can vouch that she is a wonderful "surprise" from God. She is an intelligent, caring friend…a kind and dedicated wife…a very intentional mother…and, I'm sure, a great blessing to you and your whole family!


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The Board would like to thank Audrey Blake for continuing to serve ECA as our newsletter editor. To receive a newletter click here.
Monthly newsletters are delivered only via e-mail and the web site (see newsletters by month and year above). In 2011 the Association decided to reduce cost by not mailing or hand delivering hard copies, saving us several hundred dollars a year in printing and postage.
We do make a limited number of hard copies available at the pool, by the bulletin board.
To receive your monthly newsletter by e-mail, please send your e-mail address to Audrey Blake or click here to send a message to Audrey.


CARLSBAD, CA – Oakland Athletics Executive Vice President, Baseball Operations Billy Beane has been named the recipient of Major League Baseball's Executive of the Year Award for the 2018 season, MLB announced tonight from its annual General Managers Meetings. The inaugural official Award bestowed by MLB was the result of voting among the 30 Clubs, each of which had one vote. The runners-up for the honor were Erik Neander, Tampa Bay Rays Senior Vice President, Baseball Operations & General Manager, and David Stearns, General Manager of the Milwaukee Brewers. Neander and Stearns tied for second in the voting.
The A's finished the 2018 regular season with a 97-65 (.599) record, the fourth best in all of MLB, to earn the second American League Wild Card slot. Oakland's turnaround campaign, which followed three straight seasons of at least 87 losses, marked a 22-win improvement from 2017. It was the Club's ninth best record in its Oakland history and its best regular season since 2002, when the A's went 103-59.
In 2018, homegrown third baseman Matt Chapman and first baseman Matt Olson excelled alongside past trade acquisitions like first-time All-Stars Blake Treinen and Jed Lowrie, this season's leading home run hitter Khris Davis, shortstop Marcus Semien and left-hander Sean Manaea. Before this season, the A's traded for outfielders Stephen Piscotty and Ramón Laureano and signed pitcher Yusmeiro Petit. During the season, Beane's front office fortified the pitching staff by acquiring such starting pitchers as Trevor Cahill, Edwin Jackson, Mike Fiers and Brett Anderson. In a span of less than three weeks between July and August, the A's added relievers Fernando Rodney, Jeurys Familia and Shawn Kelley.
The 56-year-old Beane played in the Majors from 1984-1989 as an outfielder with the New York Mets, the Minnesota Twins, the Detroit Tigers and the A's. He became Oakland's head of Baseball Operations following the 1997 season, spent 18 years as the Club's General Manager and ascended to his current position following the 2015 season. Beane previously was recognized as Executive of the Year by The Sporting News in 1999 and 2012 and by Baseball America in 2002 and 2013.


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Стэ́йси Энн-Мари Ки́блер (, род. 14 октября 1979, Балтимор, Мэриленд) — американская актриса, модель и в прошлом профессиональный рестлер, выступавшая в федерациях рестлинга World Championship Wrestling (WCW) и World Wrestling Federation/Entertainment (WWF/E).

Киблер принимала участие во втором сезоне шоу «Танцы со звёздами», где заняла третье место, в нескольких шоу American Broadcasting Company (ABC), таких как What About Brian, George Lopez и October Road, а также снялась в двух сериях ситкома CBS «Как я встретил вашу маму» и в сериале «Ясновидец». Киблер снималась для журналов Maxim и Stuff.

В 1999 году она начала карьеру в рестлинге, став участником группировки Nitro Girls в WCW. После покупки WWF WCW перешла в новую компанию, приняв участие в сюжетной линии «Вторжение». В WWE Киблер исполняла роль менеджера Братьев Дадли, Теста и Скотта Штайнера, а позже выступала с Ураганом и Роузи под именем Супер Стэйси.

Биография
Стэйси Энн-Мари Киблер родилась в Балтиморе (штат Мэриленд) 14 октября 1979 года. С трёхлетнего возраста она начала заниматься балетом, джазовым танцем и чечёткой в студии танцев Джин Кеттелл () в Дандэлке.

По окончании католической старшей школы в Балтиморе для девочек она поступила в университет Тоусона, где изучала массовые коммуникации. Обучение Киблер в университете частично оплачивалось стипендией, а её средний балл был 3,7. В это время она получила несколько небольших ролей в фильмах Pecker и Liberty Heights, а также работала в модельном бизнесе. В возрасте 18 лет она стала чирлидером футбольной команды «Балтимор Рэйвенс».

Карьера в рестлинге

World Championship Wrestling (1999—2001)
Киблер начала смотреть рестлинг, когда встречалась со своим в то время парнем Крисом Камберлендом. В конце 1999 года она приняла участие в конкурсе World Championship Wrestling (WCW) по поиску девушек в танцевальную группу Nitro Girls. В конкурсе приняло участие более 300 девушек, но Стэйси удалось занять одно из трёх мест в группе и получить 10 000 долларов призовых. Её танец в финале конкурса смотрело более 4,4 млн зрителей. После победы Киблер стала танцевать под именем Скай каждую неделю во время главной передачи WCW Monday Nitro.

Вскоре она получила более заметную роль, став помощницей команды Ленни Лейна и Лоди «Standards and Practices» и начав выступать под именем Мисс Хэнкок. Несмотря на то, что она начала носить деловую одежду, её персонаж запомнился частыми исполнениями сексуальных танцев на комментаторском столе. В то же время при выходе на ринг она медленно просовывала свою длинную ногу над вторым канатом, ненадолго задерживаясь в таком положении, чтобы зрители могли увидеть её трусики. Такой выход впоследствии станет визитной карточкой Киблер. Стэйси была одной из немногих девушек в профессиональном рестлинге, способных перешагнуть средний канат, окружающий ринг.

Некоторое время она встречалась с Дэвидом Флэром, у которого до этого уже были отношения с Даффни. Это привело к дебютному поединку Киблер, который прошёл на шоу Bash at the Beach. Девушки провели , который проиграла Стэйси, сняв с себя своё платье. После этого Хэнкок некоторое время враждовала с Кимберли Пейдж, однако эта сюжетная линия быстро закончилась, так как Пейдж покинула компанию. Киблер и Флэр начали вражду с группировкой рестлеров «Misfits In Action». Это привело к матчу на шоу New Blood Rising, во время которого её ударили в живот и на следующей неделе она заявила, что беременна. Однако эта сюжетная линия также быстро закончилась, Стэйси объявила, что её беременность была ложной и она рассталась с Флэром, после чего её убрали с телевизионных шоу. По возвращении она стала выступать под свои настоящим именем.

World Wrestling Federation/Entertainment (2001—2006, 2011)

Вторжение и Герцогиня Дадливилля (2001—2002)

В 2001 году World Wrestling Federation (WWF) купила WCW и контракт Киблер перешёл к новой компании, где она стала отыгрывать роль плохого персонажа в группировка Альянс. 14 июня 2001 года Стэйси дебютировала в SmackDown!, где помогла Шейну Макмэну одержать победу над Рино. Она также вместе с Торри Уилсон начала враждовать с Триш Стратус и Литой. Во время их противостоянии девушки приняли участие в первом в истории командном матче в , проходившем на pay-per-view шоу InVasion. В матче победу одержали Триш и Лита, которым удалось раздеть Стэйси и Торри до нижнего белья.

Ближе к концу «Вторжения» Киблер стала менеджером команды Дадли Бойз, получив прозвище Герцогиня Дадливилля. В это время у неё началась вражда с бывшей союзницей Торри Уилсон, покинувшей Альянс. На шоу No Mercy Киблер проиграла Уилсон в первом в истории матче в нижнем белье. Стэйси продолжала исполнять роль валета и в марте на шоу Рестлмания X8 сопровождала команду во время их выхода на ринг. Однако их взаимоотношения подошли к концу, когда на одном из шоу противники Дадли Бойз сломали девушкой стол, что привело к поражению Братьев. После ухода из группировки Киблер попыталась побороться за титул чемпиона WWE среди женщин, но на шоу Judgment Day уступила действующей чемпионке Триш Стратус. Позже она ещё несколько раз участвовала в поединках против Стратус, однако ей ни разу не удалось одержать победу.

Любовные сюжетные линии (2002—2003)
В результате драфта WWE 2002 года Киблер перешла в SmackDown!, где стала проявлять интерес в получении должности персонального ассистента главы правления компании Винса Макмэна. И хотя тот уже почти был готов нанять на эту должность другую симпатичную девушку, Киблер исполнила танец на столе перед Макмэном и он отдал предпочтение Стэйси. Кроме того Киблер стала также играть роль его любовницы и пару часто показывали в закулисных сегментах шоу. Однако примерно в то же время в SmackDown! дебютировала Дон Мари, которая также стала бороться за внимание главы WWE, и между девушками началась вражда.

Развязка этой сюжетной линии произошла в конце лета, когда Киблер перешла в Raw, где дебютировала 12 августа. Там она стала отыгрывать роль хорошего персонажа и исполняла роль менеджера Скотта Штайнера и Теста. Вскоре Тест стал ревновать Стэйси к Штайнеру, оскорбил своего бывшего менеджера и начал отыгрывать роль плохого персонажа. Это привело к поединку между Тестом и Штайнером, в котором победу одержал последний и между девушкой и Скоттом началась любовная линия. Однако уже в следующем поединке Тесту удалось одержать победу и на шоу Unforgiven был назначен бой с условием, что если в нём победу одержит Тест, то и Киблер и Штайнер станут работать на него. В поединке, из-за вмешательства Стэйси, Тесту удалось одержать победу, что привело к тому, что Штайнер также стал хилом. Позже рестлеры стали выступать как команда, а Киблер играла роль их сексуального раба. Конец этой сюжетной линии положил генеральный менеджер Мик Фоли, который освободил Киблер от её контракта со Штайнером и Тестом временно уволив их.

Вражда с дивами и отношения с Рэнди Ортоном (2004—2005)

В 2004 году Киблер выбрали для участии в записи песни для альбома WWE Originals и она вместе с музыкальным продюсером WWE Джимом Джонстоном записала песню «Why Can't We Just Dance?». Из-за этого у неё началась вражда вместе с Дивами SmackDown! Торри Уилсон и Сэйбл, которые недавно снялись для обложек журнала Playboy. Киблер вступила в альянс с Мисс Джеки, которая как и Стэйси не снималась для Playboy, и обе дивы заявили, что они больше, чем Сэйбл и Уилсон заслуживают съёмок для Playboy. На Рестлмании XX между девушками прошёл командный матч в вечерних платьях, положивший конец этой вражде, в котором Киблер и Джеки проиграли после того как Уилсон удалось удержать Джеки на лопатках.

В середине 2004 года она несколько недель участвовала в конкурсе бренда Raw по поиску див, в ходе которого вместе с Нидией и Викторией приняла участие в нескольких командных матчах против Гейл Ким, Триш Стратус и Молли Холли. 11 октября 2004 года Киблер получила шанс побороться за титул женского чемпиона, однако уступила действующей чемпионке Стратус. На шоу Taboo Tuesday она приняла участие в первом в истории королевском бое див Fulfill your Fantasy за титул женского чемпиона, в котором также участвовали Виктория, Нидия, Гейл Ким, Молли Холли, Джаз и действующая чемпионка Стратус. В бое Стэйси удалось продержаться почти до самого конца, однако, в итоге, её выбила из матча Холли.

В начале 2005 года Киблер стала появляться в закулисных сегментах с тогда исполняющим роль положительного героя Рэнди Ортоном. Однако их союз продлился недолго. Кинув вызов Гробовщику на матч на Рестлмании 21, Ортон покончил с отношениями со Стэйси, выполнив на ней приём RKO. Свой поступок он объяснил тем, что для того, чтобы победить Гробовщика, он должен был продемонстрировать насколько жестоким он может быть.

Супер Стэйси и увольнение (2005—2006)

После расставания с Ортоном Киблер присоединилась к группировке Роузи и Урагана и начала выступать в костюме супергероя под именем Супер Стэйси. Девушка выходила на ринг вместе с товарищами по группировке и находилась в их углу, когда те защищали титулы командных чемпионов мира. В это время Киблер стала враждовать с Викторией, что вылилось в несколько стычек на Raw и матч на шоу Heat.

После долгого пребывания на бренде Raw Киблер вместе с Кристи Хем была обменена в SmackDown! на Торри Уилсон и Кэндис Мишель. В SmackDown! Киблер стала участвовать в матчах в нижнем белье и в конкурсах бикини. Она стала враждовать с Джиллиан Холл, что привело к матчу между девушками на шоу Velocity. Этот матч стал последним для Киблер в WWE. После Velocity она попросила у руководства WWE освободить её от выступлений, чтобы она смогла принять участие в шоу Dancing with the Stars. После выступления на шоу Стэйси Киблер уволилась из WWE, чтобы заняться другими проектами вне рестлинга.

Tough Enough (2011)
В 2011 году Киблер появилась в реалити-шоу WWE Tough Enough. Так как раньше она была чирлидером клуба НФЛ, она помогала конкурсантам подготовить номер для выступления перед Universal Studios.

Карьера актрисы и модели
С 2005 по 2006 год Киблер работала одним из редакторов журнала Stuff, где вела колонку «Getting Fit with Stacy Keibler», а также снималась для неё. Её фотографии дважды были опубликованы на обложке Stuff: в июне 2005 года и в марте 2006 года. Журнал Maxim поставил её на 5 место в списке самых «горячих» девушек 2006 года, а в последующие четыре года она занимала места в седьмом десятке списка. Кроме того, Playboy дважды предлагал девушке сняться обнажённой для журнала, однако она отклонила эти предложения.

Киблер снялась в рекламе компании AT&T вместе с Кэрротом Топом. Она также прошла пробы и ей предварительно дали роль в фильме «Дом большой мамочки 2», но она там так и не снялась.

Киблер приняла участие в втором сезоне шоу Dancing with the Stars, где её партнёром стал Тони Доволани. На пятой неделе за исполнение самбы она получила идеальный результат — 30 очков от трёх судей. А один из судей, Бруно Тониоли, назвал Стэйси «оружием массового обольщения». Всего за время шоу Киблер и её партнёр 4 раза получали наивысший бал. В результате, Киблер выбыла из борьбы в последнем раунде, заняв третье место. Двое судей, Бруно Тониоли и Лен Гудман, позже высказались, что Киблер была достойна как минимум второго места. Букмекеры также считали её фавориткой в борьбе за победу.

Киблер дважды принимала участие в передаче MTV Punk'd. В пятом сезоне она помогла разыграть звезду WWE Triple H. В седьмом же сезоне она сама стала объектом розыгрыша, который организовал её друг Джофф Стульц.

В феврале 2007 года Киблер сыграла эпизодическую роль в сериале ABC What About Brian. Она сыграла роль новой соседки и объекта сексуального влечения Брайана. Эта роль на тот момент стала самой значимой в её актёрской карьере, после того как она сыграла небольшие роли в сериалах «Парень из пузыря» и Pecker. Она также сыграла приглашённую роль в сериале ABC George Lopez. В конце 2007 года на появилась ещё в двух сериалах ABC «Мстители» и October Road.

В апреле 2008 года Стэйси заняла 64 место в списке 100 самых сексуальных женщин года по версии FHM. Она также снялась в рекламе журнала Sports Illustrated Swimsuit issue. Киблер сыграла роль Карен в мини-сериале канала ABC Samurai Girl. 23 ноября 2008 года она была названа самой сексуальной спортсменкой года по версии InGameNow.

16 сентября 2009 года она стала ведущей передачи E! Special Maxim's Celebrity Beach Watch: 15 Hottest Bodies, а 1 октября финала The Ultimate Spike Girl 2009 на канале Spike TV. 11 января 2010 года снялась в роли «сексуальной барменши» в 100 серии сериала «Как я встретил вашу маму». 3 февраля 2010 года она приняла участие в телесериале канала USA Network «Ясновидец». С 2011 по 2012 год Киблер работала ведущей передачи Call of Duty Elite's Friday Night Fights.

В июле 2013 года Киблер стала ведущей шоу канала Lifetime Supermarket Superstar, в котором повара борются за то, чтобы их продукты начали продавать в супермаркетах.

Личная жизнь
В 2000 году, после победы в конкурсе WCW и став членом Nitro Girls, она потратила призовые 10 000 долларов на покупку сезонного абонемента на игры своей любимой команды «Балтимор Рэйвенс».

В 2004 году Киблер переехала в Лос-Анджелес, где снимала квартиру вместе с Торри Уилсон.

В июне 2005 года она начала встречаться с актёром Джоффом Стульцем. Вместе они снялись в одном из эпизодов MTV Punk'd. Киблер и Стульц были совладельцами баскетбольной команды «Голливуд Фейм», которая в 2006 году присоединилась к Американской баскетбольной ассоциации. В середине 2010 года пара рассталась.

С июля 2011 года встречалась с Джорджем Клуни, но в 2013 году пара рассталась.

Осенью 2013 года Киблер начала встречаться с главой правления Future Ads Джаредом Побром, с которым до этого дружила несколько лет. 8 марта 2014 года они сыграли свадьбу в Мексике. У супругов есть трое детей: дочь Эйва Грейс Побр (род. 20 августа 2014), сын Боди Брукс Побр (род. 18 июня 2018) и ещё одна дочь — Изабелла Фейт Побр (род. в мае 2020).

В рестлинге
 Завершающий приёмы
  — 2002—2003
 Keibler Kick () — 2003—2006
 Коронные приёмы

 Прозвища
 «Ноги WCW/WWE» ()
 «Герцогиня Дадливилля» ()
 «Супер Стэйси» ()
 Музыкальные темы
 «Universal Love» (WCW)
 «The Way It Is» от Джима Джонстона (WWF/E)
 «Legs» от Кид Рока (WWF/E)

Награды и достижения
 World Wrestling Entertainment
 WWE Малышка года (2004)

Фильмография

Примечания

Ссылки

 Биография  на сайте Online World of Wrestling

Танцовщицы США
Фотомодели США
Женщины-рестлеры США
Родившиеся в Балтиморе
Выпускники Таусонского университета
Менеджеры в рестлинге

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text:
Handguns: Semi-Auto
Smith & Wesson M&P45 Shield Review
Brad Fitzpatrick - May 15, 2017
Photos by Michael Anschuetz
On a trip to the White House in 1942, Winston Churchill became so enamored with the idea of building a pistol that could be air-dropped behind enemy lines that he woke President Franklin Roosevelt at four in the morning to discuss the idea.
The gun would have to weigh less than a pound, had to be so mechanically sound it could be dropped from passing airplanes, and had to be so foolproof and of such basic construction that even an illiterate fighter who spoke no English could, following the included photos, make the gun fire.
And since this gun was to be a single-shot and that one trigger pull might be a resistance fighter's only defense against an enemy, the caliber had to be suitable to stop a soldier with one close-range shot. Churchill opted for the .45 ACP.
That gun became known, at least officially, as the FP-45 Liberator. Those who had experience actually shooting the gun referred to it not so affectionately as the "Little Monster." It seems it was easy to use and easy to conceal but painful to shoot. The awkward minimalist style made the Liberator a gun you would fire only if you were completely out of other options.
The gun's diminutive controls proved a mixed blessing. The tiny safety wasn't a hindrance, but the small slide-lock lever didn't exactly speed reloading times.
The compact .45 is still as much in demand as it was during World War II (more so, in fact; the Liberator saw only limited use in actual conflict).
The modern market for compact carry guns has become a battlefield in its own right, with dozens of manufacturers vying for the attention of a growing number of permit holders.
What they want is actually quite similar to what Churchill envisioned in the 1940s: a gun that was tough, simple to use and capable of stopping a deadly threat with a single trigger press.
In the fight for carry gun dominance, the Smith & Wesson M&P Shield line is a decorated soldier.
The recipe for the Shield's success has been relatively simple: It's another iteration of the popular compact polymer-framed, striker-fired semiauto pistol chambered in, at least until recently, 9mm and .40 S&W. Now the Shield family has grown to include a .45 Auto version: the M&P45 Shield.
"Our new M&P45 Shield takes personal protection to the next level by offering all the M&P features our customers have come to trust, combined with .45 caliber power," says Jan Mladek, general manager for the M&P line at Smith & Wesson. "Well over 1 million consumers and professionals have chosen to 'shield themselves' with the slim, concealable and powerful M&P Shield pistol. The new M&P Shield in .45 Auto provides that extra level of confidence."
The differences among the many polymer carry guns are nuanced, but the Shield has set itself apart with its thin profile, solidly constructed sights, ease of operation, optional thumb safety and affordable price.
The texturing on the polymer grip was sufficient to keep the gun well in hand, no small feat for such a small pistol in such a big caliber.
The new .45 version underwent a few cosmetic upgrades, too, with small, curved slide serrations up front and a brand-new textured grip. But it shares much of the DNA with its smaller Shield siblings: same 18-degree grip angle, same polymer frame, same takedown lever, sights and controls.
Speaking of controls, the Shields are minimized to Lilliputian dimensions. That's good for concealed carry, but it can make basic operation a bit of a chore at times.
Like other Shield models, the .45 has a slide that is treated with black Armornite, a hardened nitride finish Smith & Wesson trademarked in 2015. It does a good job of standing up to the elements and protects guns against the corrosive effect of daily exposure to human perspiration.
The Shield's sights are good for this class of guns: a front post with white dot and a rear sight with twin white dots, both of which are dovetailed into the slide and both of which are made of steel.
The rear sight is drift adjustable via a setscrew, and Smith & Wesson has done a good job balancing robust build quality and functional size with a snag-free design.
The M&P45 Shield was a joy to carry thanks to its small profile and its lack of sharp edges.
Rear slide serrations have an overlapping curved pattern that is quite functional and allows you to obtain a firm grasp on the slide. A large side-mounted extractor gets a hefty bite on a cartridge case, and a hole in the top of the slide acts as a loaded-chamber indicator.
Grip texturing on the .45 aids in controlling the gun, and unlike some other carry guns, the Shield's texturing isn't so aggressive as to grate your skin like a roll of Havarti cheese, yet the gun stays put.
The success or failure of a particular carry gun model is often dictated by dimensions, so the size and weight of these guns bears some scrutiny.
Smith & Wesson has a pretty good idea of what size gun works for most shooters, and in the original 9mm Shield the company went with a gun weighing 19 ounces, a 3.1-inch barrel and a 0.95-inch width.
The .45 version needed to stay close to those figures, and with a 3.3-inch barrel the Shield .45 weighs just 1.5 additional ounces and is a scant 0.04 inch wider than the 9mm.
Fitzpatrick really liked the all-steel three-dot sights. He particularly singled out how easy it was to track and acquire the conspicuous front-sight dot.
The .45 is 6.45 inches long, the 9mm 6.1 inches. In real-world terms these guns are identical in size. But they aren't the same caliber, and the .45's maw looks like a flare gun compared with the 9mm version.
Of course, the big difference between the two is recoil. If the Shield .45 was going to win over customers who could just as easily buy a 9mm or .40—from Smith & Wesson or dozens of other manufacturers—then it was going to have to be a good dog whose backward bite remained manageable even with hot defensive loads.
Smith & Wesson provides two magazines with this gun, and that's part of how it helps shooters manage recoil. The included six-round mag fits flush with the bottom of the gun, and the seven-round version is extended to offer plenty of space even for shooters whose hands resemble catcher's mitts.
The idea is that the extended magazine will be used at the range since it offers more grip space and a higher cartridge capacity for less reloading. It's also a great option as a spare magazine in a carry situation.
The flush-fit mag cuts capacity by one, but it makes the pistol easier to conceal. In truth, even with the stubby magazine in place, there's still a fair amount of grip space. I have a relatively large hand, and even with the short magazine, I never hung a finger in space or felt cramped.
I carried the Shield for a few days before and after shooting it, and it's an easy gun to pack. I didn't have a holster for this particular gun, but it fit just right in the ancient and somewhat tattered belly band I use while hiking and running.
The slim Shield sucks right up into your hip and disappears from view. The minimal controls make it easy to carry, and with the short magazine you can hide this gun under just about any level of clothing that won't get you kicked out of church. I took the Shield on a four-mile run and had no problems; there simply aren't any rough edges to chafe or jab.
From the bench I shot five groups of five shots with five different loads from 15 yards, a grand total of 125 shots, in the span of a few hours. On top of that, I burned up just about every available round of .45 ammo shooting hostage targets and silhouettes.
The end result was a full day at the range and several hundred rounds, and I must say that while the Shield .45 can be a bit trying to shoot for extended periods of time from the bench, it wasn't as bad as I had expected it would be.
The grip angle promotes a high hold, and the low bore axis pushes the gun backwards instead of snapping the muzzle upward, which greatly reduces perceived recoil. The thin grip is rather deep—roughly two inches—and the aforementioned texturing helps with your hold.
While the pistol was much more pleasant to shoot with training loads, Fitzpatrick didn't find it painful to shoot even with full-power stuff.
And, of course, a low-recoil training load further reduces the .45's snap, and it was noticeably more comfortable to shoot the Winchester Train FMJ load at 715 fps than the other, hotter defense loads running 100 fps faster.
Some people avoid purchasing low-recoil practice ammo for fear their guns will fail to feed, but the Shield digested every load from the mild to the wild without a single hitch. The only noticeable difference—aside from lower recoil—was that the slide wouldn't always lock open after the last shot with the Winchester training ammo.
With the other loads, the ones you'd be using for self-defense situations, the slide always locked open, which is critical for quick mag changes. In short, despite the fact that the Shield .45 has considerably more roar and more snap than its 9mm sibling, this isn't a gun that is painful or unmanageable to shot.
The pistol shot well with a variety of different loads. In fact, until I broke out the calipers and calculator back in the office, I had no idea which load would win the day. Turns out it was the SIG Sauer V-Crown 200-grain jacketed hollowpoint load, which produced groups averaging 1.31 inches. The Winchester Train FMJ was next in line.
I was impressed by the consistency with every load tested in terms of accuracy and velocity, and every ammo produced at least one sub-1.5 inch group. You don't need to hit a soda can at 15 yards with your carry gun, but it's nice to know you can. Additionally, the sights were regulated dead nuts from the factory with no need to adjust.
The real test for a gun like this is shooting drills that mimic defensive shooting scenarios—offhand and at close quarters. I used the Shield to run a number of drills, including lateral and vertical movement drills, hostage drills and double-taps with reloads.
During these tests the Shield performed quite well. I feared the minimized safety would cause problems, but that was never an issue. (And as an aside, the gun is also available without the manual safety.) The teeny slide stop button, however, added a few seconds to some of the magazine changes because it's hard to hit that thing without jockeying the gun a bit.
The trigger is 6.5 pounds and a bit spongy but not beyond the norm with guns of this ilk, and there's a smooth take-up and short reset.
The Shield gets high praise for its sights, and the seconds I lost fiddling for the slide release were probably made up by fast shot delivery, thanks to that big white dot front post that can be easily seen, buried in the center of the target, and quickly reacquired after each shot.
Churchill was a brilliant man, and he was right that there was a need for a compact, easy-to-use, reliable .45. But his idea for the "Little Monster" might have fallen short.
Oh, but he would be chuffed with the new Smith & Wesson Shield .45.
I don't know that this gun could survive being dropped from airplanes behind enemy lines, but woe to the Axis soldier who came across a freedom fighter so armed—or to the criminal who encounters a .45 Shield-carrying citizen.
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