United Kingdom About Podcast Andy Lamb, Sacha Shipway, and Natalie Morris bring you The Netball Show with Mizuno. Online considering that 2017. We bring you the most recent news and interviews from the UK’s Superleague and all elements of the sport . Frequency 3 episodes/ week Since Oct 2017 Podcast thenetballshow.co.uk Facebook fans 757 ⋅ ⋅ Twitter fans 4K ⋅ Instagram Followers 308 ⋅ ⋅ Domain Authority 19 ⓘ ⋅ View Latest Posts ⋅ ⋅ Get Email Contact
United Kingdom About Podcast This is the UK Netball Podcast by Andy Lamb consisting of The Netball Show Extra Interviews. Netball in the UK has actually never ever been as popular and these are a few of my longer interviews that have actually included as part of The Netball Show podcast based in the UK and BBC regional radio stations. Frequency 1 episode/ week Since Jun 2013 Podcast audioboom.com/channels/4926068 Facebook fans 60 ⋅ Twitter fans 1.1 K ⋅ Domain Authority 89 ⓘ ⋅ Alexa Rank 32.3 K ⓘ View Latest Posts ⋅ ⋅ Get Email Contact
About Podcast Your weekly repair of all things Netball with Emma Jones, Sara Bayman &Maggie Birkinshaw. New episodes weekly! Frequency 1 episode/ week Since Nov 2018 Podcast podparadise.com/Podcast/1442.. Facebook fans 5.4 K ⋅ Twitter fans 1.4 K ⋅ Instagram Followers 995 ⋅ Domain Authority 47 ⓘ ⋅ Alexa Rank 244.7 K ⓘ ⋅ View Latest Posts ⋅ Get Email Contact
Brisbane, Queensland, Australia About Podcast The Goal Circle is a weekly program that zones in on the trials and adversities of the Suncorp Super Netball competitors. With the assistance of some unique visitors, we’ll be diving right into wrap-ups and examining every side here and throughout the Tasman! Frequency 3 episodes/ quarter Since Mar 2016 Podcast player.whooshkaa.com/shows/t.. Facebook fans 1.3 K ⋅ ⋅ Twitter fans ⋅ 127 ⋅ Instagram Followers ⋅ 102 ⋅ Social Engagement 21 ⓘ ⋅ Domain Authority 58ⓘ ⋅ ⓘ ⋅ Alexa Rank 119.7 K ⓘ View Latest Posts ⋅ Get Email Contact
Melbourne, Victoria, Australia About Podcast The Inner Circle podcast by RSN Racing And Sport. Australian netball champs Sharelle McMahon &Bianca Chatfield take a thorough weekly take a look at the Australian Super Netball Series. You’ll hear the most comprehensive evaluations, thorough sneak peeks, and thorough analysis from 2 previous Australian agents on the video game they like and understand! Plus a lot of excellent interviews with the modern-day super stars of the competitors in addition to lots of enjoyable along the method. Frequency 1 episode/ quarter Since May 2019 Podcast player.whooshkaa.com/shows/t.. Facebook fans 33.9 K ⋅ Twitter fans 27.2 K ⋅ Instagram Followers 2.9 K ⋅ Social Engagement 28 ⓘ ⋅ Domain Authority 58 ⓘ ⋅ Alexa Rank 119.7 K ⓘ View Latest ⋅ Posts ⋅ Get Email Contact
About Podcast NETFIT Netball podcast by Sarah Wall &Kim Green. At NETFIT Netball, we offer an online netball program with weekly physical fitness videos, physical fitness strategies, training drills and session strategies to keep you ahead of the video game. Stimulate up your netball abilities to be innovative and sharp. And never ever quit on your dreams and objectives. Frequency 4 episodes/ quarter Since Jul 2018 Podcast player.whooshkaa.com/shows/n.. Facebook fans 25.5 K ⋅ Instagram Followers 27.7 K ⋅ Social Engagement 14 ⓘ ⋅ Domain Authority 58 ⓘ ⋅ Alexa Rank 119.7 K ⓘ View Latest Posts ⋅ Get Email Contact
Melbourne, Victoria, Australia About Podcast The Centre Pass Podcast is a weekly netball podcast devoted to the Suncorp Super Netball League, summarizing each round along with covering global competitors. Frequency 1 episode/ quarter Since Apr 2019 Podcast anchor.fm/ centre-pass-podcast Facebook fans 95 ⋅ Twitter fans 368 ⋅ Social Engagement 5 ⋅ Domain Authority 77 ⋅ Alexa Rank 3.5 K View Latest Posts ⋅ Get Email Contact
Trying to keep up with all the changes swirling in comics while you don’t even know what day it is and your biggest life challenge is not wearing the same sweatpants for the fifth day in a row? Us too! But here’s a two-week round-up of links we stored, chipmunk style, while we were moving servers.
#Creators4Comics — a fundraising effort that saw more than 600 auctions by comic creators, authors and celebrities to benefit comic book retailers — raised more than $400,000 during its six-day run earlier this month, the organization has announced. Coordinated by Kami Garcia (Teen Titans: Raven), Sam Humphries (Dial H for Hero, Harley Quinn), Brian Michael Bendis (Cover, Superman), Phil Jimenez (Wonder Woman, Infinite Crisis) and Gwenda Bond (Stranger Things: Suspicious Minds, Lois Lane: Fallout), #Creators4Comics ran on social media between April 15 and 20, with more than 635 auctions of anything from signed books to original artwork — and, in some cases, specially created stores — being offered with all proceeds going to the Binc’s Comicbook United fund benefiting U.S. comic book retailers.
§ Newsarama has a bit more about BINC’s activities, noting that aid has been given to 135 shops, while 722 shops have applied. Over $150,000 has already been distributed.
In the past, BINC has offered financial assistance to comic book stores affected by natural disasters and other unexpected financial crises. BINC has received several notable donations to this cause over the past two months, including $250,000 from DC; $433,166 as part of the #Creators4Comics auction; $10,000 from the Certified Guaranty Company (CGC); unspecified funds from Oni/Lion Forge; and over $150,000 (and counting) as part of DC Publisher/CCO Jim Lee’s ongoing 60 sketches/60 days art auctions.
§ Walmart is getting more comics! Specifically, endcapcomics displays which will showcase four middle grade titles from Allegiance Arts and Entertainment, a new publisher, ICv2 reports.
Sidekick comic displays from new comics publisher Allegiance Arts and Entertainment will be placed in the book departments of 3,384 Walmart stores, about 70% of the chain, next Tuesday, May 5. The displays, which will hang on the side of an endcap display, will launch with four original middle-grade titles, priced at $4.98 for 24 all-story pages on 70-pound paper.
The displays are being placed by Readerlink, which handles book distribution to Walmart. Their eight pockets will be used to display multiple issues of the books so readers will be able to find early issues even after the titles have launched. Plans are to launch with ten copies per store of each title. The comics will also be available on Walmart.com.
Allegiance is owned by creators Mitch and Bettie Breitweiser, and Arkansas businessman David Martin, CEO of reputation management/crisis consulting firm Allegiance Consulting Group. I’ll probably have more to say about this later on – 3000 endcap displays in Walmart are not cheap and will be a highly visible spot for a line of comic book sized products. You people wanted floppies in newsstands, here you go! Many of the folks behind the company are often thought to be C*mcsgate adjacent – however, Walmart shoppers aren’t going to care about that.
All that said, I’m not convinced that the 24 page comics periodical is a format that kids want for unknown properties – as a quick gift from an anxious parent, maybe.
§ Here is a round-up of think pieces, news stories and interviews surrounding the current Coronavirus pandemic and how it affects the comics industry.
First the two foundational think pieces from mainstream media – I’m quoted in one! With the gloomiest doomiest thing possible.
Publishers of every size recognize that they are at risk. Dan Buckley, the president of Marvel Entertainment, which is home to Spider-Man, the X-Men and the Avengers, said in a statement, “This crisis is having an unprecedented impact on every aspect of our lives and requires patience and perseverance,” adding that he remained optimistic that comics “are here to stay.” The proprietors of comic shops across the country say that what once looked like a promising year of business has evaporated amid state-by-state policies that have required the closure of their stores.
While the current big charity push is to bail out comics shops, Gillen predicted that the next wave will probably need to address the needs of the creators themselves. The psychological toll still needs to be considered. “The first week of social distancing/stay at home continued like normal,” says Erica Henderson, artist on Marvel’s beloved Unbeatable Squirrel Girl series. “I was putting out the same amount of work, it was fine. The next two weeks? Nothing. I really had a hard time getting anything work-related done. I continued to make comics for my Patreon, but I think the fact that it wasn’t my job made it OK. I wanted to keep making art but doing my work was impossible. I’m now at about a 50-75% capacity.”
§ And here’s in insidery, comprehensively gloomy take by Milton Griepp, who has seen a disruption or two in his time: Geek Winter Is Coming
Consumer demand is being battered by layoffs. It’s likely that with the new unemployment claims reported Thursday, that over 26 million Americans will have lost their jobs in four weeks, a level of economic devastation never seen before in such a short period of time. Even with unemployment insurance expansion and stimulus payments to consumers, the confidence to spend money on non-essentials is likely to decline along with consumer paychecks.
A huge swath of geek culture retail is shut down, and will come back hamstrung. The independent retailers that form the heart of the comics and games businesses are mostly shut down to foot traffic and able to do only a fraction of the business they were before shutdown orders were implemented. Even when stores are allowed to re-open, in many states it’s likely that there will be restrictions on the number of people in stores at the same time, on the types of interactions, and on high-density events that build community and demand in those stores, such as in-store gaming and creator appearances. And if cases surge after re-opening, more strict social distancing rules could once again be implemented, starting the whole process over again.
There are about 6 other bullet points but you get the idea.
Although the shutdown of Diamond Comic Distributors’ new product operations has stopped its flow of new comics and graphic novels to comic stores (see “Diamond Halting Distribution of New Product”), the graphic novel business was still functioning at a fairly high level in the book channel through April 4, according to NPD BookScan numbers for March (3/1-4/4) provided to ICv2. Graphic novel sales are taking place through an unusual mix of retailers and publishers, with the coronavirus crisis shutting some down while others are taking advantage of the circumstances and enjoying higher sales.
At the start of the COVID-19 pandemic, there were three comic book and gaming stores in Eureka. How many will be left standing by the end of the pandemic depends on how long it goes on. The city will be down at least one of the stores after Nu Games announced on Facebook on Tuesday that it would be permanently closing after 14 years in business, though it’s unclear if it was related to the COVID-19 pandemic or the shelter in place order intended to curb the spread of the novel coronavirus, which causes the infectious disease. Nu Games did not respond to a request for comment by publication time.
So many are just going to disappear and never return.
John Robinson, the co-owner with Jamie Graham of Graham Crackers Comics, a chain of stores primarily in Illinois, said he had had to furlough nearly all his employees. When he read about the foundation, he encouraged workers to apply for aid. “One person told me that they helped with a mortgage payment,” he said, adding that the aid had arrived within a week. Mr. Robinson has an application pending for his business.
Assistance for retailers is expected to be distributed in mid-May. His 12 stores are in California, Illinois and Wisconsin, which are under shelter-in-place rules but have been taking online orders. “It’s not enough to pay 12 stores’ rents,” he said, “but it is enough to pay utilities and to make partial payments to make people happy.”
Katie: Orders came in. I am busier than I can handle. I am a week and a little bit backlogged on orders still. And I’ve been doing fulfillment every day and I’ve been doing deliveries every night. So we are managing to pretty much hold steady in terms of year over year averages. … Yeah, and part of that is because our business model has always been very trades and book-focused, and so, aside from the twitching withdrawal that me and the rest of the X-Men fans are having about the lack of new X-books, it is okay. New weekly comics are such a small part of overall revenue model in general that losing them is significantly less of a big deal for me than it is for, I think, most retailers. And I’m grateful for that. And partly because of tactics and partly because of my customer situation, on the one hand, doing mail order and delivery and pick-up is a lot more labor-intensive than people picking out their own books and bringing them over to the counter. But the upside is that we’re all focusing on doing that in larger chunks… so I don’t have a mandatory minimum on orders, but I am encouraging to do them for about $50 or more… and moving in not ones and twos, but fours and fives in terms of books makes it more profitable to do the more labor-intensive work. So that’s how I’m trying to shift it. And keeping the expenses as low as humanly possible.
Like many other industries, these comic shops realized that they can’t just act like today is the same as yesterday. Adjustments needed to be made, so they made them, if possible. Unfortunately, some have been resistant to change. While many shops have dealt with the amorphous nature of this pandemic with corresponding flexibility, that hasn’t always been the case, especially when new ideas are on the table. As other options have been presented, the only guarantee in regards to the response has been the velocity of the rebuke from certain corners.
So…other retailers, other voices.
OK a few other kinds of links.
§ I’ve been off comics Twitter and mostly only on wrestling Twitter for the last few weeks because other things, which means I missed some good old Twitter storms. And sometimes missing a particularly Twitter eruption means missing a chance to roll around in juicy takes like a dog who finds a cow turd in the back yard. Anyway I’m sorry I missed the discussion over Milo Manara’s tributes to female medical workers and first responders, because it must have been mind boggling. Manara is best known for his erotic comics, and his pen can’t help but linger over the beauty of these exhausted women in an unseemly way, but there’s an honesty there, too. There are a lot of hospitals where I live, and I see exhausted women in scrubs lining up for a coffee all the time, and they look pretty much like this.
Women in Comics: Looking Forward and Back is a group exhibition at the Society of Illustrators featuring more than 50 female cartoonists, from the early 20th century trailblazers to plus-size superheroes, queer graphic novels, wartime romances and flapper-era cartoons, all of which go outside your typical superhero format. ‘This is beyond the Great Depression’: will comic books survive coronavirus? Read more “I think there are a great number of voices out there, and people want to hear this diverse range,” said Kim Munson, the exhibition’s co-curator. “I hope this will continue.” The exhibition is divided into two sections: the history of women cartoonists, dating back to the early 1900s, and contemporary comics from the 1970s to present day. Though the society is closed to the public during the pandemic, the online version shows a selection of curated artworks, which will be on view until 24 October, and will soon include a video tour.
Ben Passmore: In some ways, I dislike being asked by white people what to do about gentrification because I feel like the actual question is, “How do I variate my life enough to not feel bad, but not so much that I can’t do what I want?” If white people wanted to solve black displacement, they’d think about putting their money and time toward it instead of making ironic purchases at boutique coffee houses. But even with that said, we can’t use capitalism to solve something capitalism started. Something I like about BTTM FDRS is that it doesn’t propose anything. It just leads you through the complicated discomfort and terror of the characters. It also doesn’t make a hero out of anyone in any obvious way. The monster, Darla, and even Chucky are not saints. It would be easy to make a book that mirrors a popular, simplistic narrative about gentrification without actually trying to reflect the ecosystem of displacement that exists that includes non-rich, non-white people. There was one scene that was real cathartic for me to draw, though.
As late-night hosts like Stephen Colbert and Seth Myers have proven throughout the COVID-19 pandemic, you don’t need a lot of technology to broadcast yourself to the world. They’ve often done it with little more than an iPhone, while podcasters and other content creators tend to rely on a decent desktop microphone. For years, a small handful of USB mics have ruled the earth. Now, established audio brand Rode is trying to make some room for itself on your desktop as well. Is the Rode NT-USB Mini a worthy competitor to microphones like the Blue Yeti? Let’s find out.
Design and Features The first thing you notice looking at the NT-USB Mini is just how “mini” it actually is. Standing just 5.5 inches high and sitting on a base that’s 3.5 inches in diameter, it seems more like a scale model of a microphone than a functional desktop mic. In fact, set the mic next to the Blue Yeti (which admittedly is needlessly oversized), and the difference in stature is almost comical.
And while there is a non-mini in the Rode lineup, the NT-USB Mini is not just a shrunk down version of the larger NT-USB; it’s an entirely different audio product in almost every meaningful way. The Mini is its own deal, for better or worse.
So what is that deal? Well, the build quality is fabulous. The mic – small enough to fit in the palm of your hand – weighs 21 ounces, which makes for a heavy, solid-feeling rig. It’s made of a combination of steel and reinforced nylon resin, and nothing about it feels cheap or flimsy. The upper half of the mic is fully wrapped in a metal mesh grille, and the lower half is extremely minimalist. On the front you get a single dial and two status lights; in back there’s a 3.5-mm headphone input and a USB-C port.
The dial is not the microphone gain; in fact, the mic has no gain control whatsoever, and you need to adjust that at your PC or device. Instead, the dial controls the audio level in the headphone monitor (which, incidentally, is a zero-latency audio monitor). The dial is stiff – almost too stiff, because you need to get a grip on the mic just to turn the dial with your thumb – and spins well past the marks on the mic face in both directions. You can toggle the audio monitor on and off with a push of the dial.
The two status lights tell you when the zero-latency monitor is on and when the microphone is powered via the USB-C port. Kudos to Rode, by the way, for supporting USB-C. It’s much easier to plug into the back of the mic than micro-USB, especially in the dark.
The mic is permanently mounted on a U-bracket that, thanks to the magic of magnets, snaps authoritatively into the stand with little effort. Want to mount the mic on a stand or boom arm? Pop the rubber grommet out of the bottom of the U-bracket and insert the included 3/8-inch adapter.
The first time I used the NT-USB Mini and its magnetic stand, I was almost giddy with how clever it all seemed. But it didn’t take long for me to have some quibbles. Because of a notch in the base, the mic only goes on the stand in one orientation, and there’s a chrome divot on the stand to remind you where to orient the front of the mic. But why? The stand is completely symmetric, so without the self-imposed notch, the mic could snap on in any orientation. That’s annoying. Rode made it weirdly difficult to put the mic on the stand, as if they looked at the almost-but-not-quite-symmetric USB plug design and said, “we should replicate that on a larger scale.” Performance The most important part of the microphone is obviously on the inside. Unlike do-it-all microphones like the Blue Yeti, Rode built the NT-USB Mini with a single capsule, so it has exactly one mic pattern: a cardioid polar pattern that is sensitive to audio in front of the mic and rejects audio to the side and rear.
Since it only features one pattern, Rode’s engineers were no doubt able to put a higher quality mic in the NT-USB Mini, since they didn’t have to worry about fitting two or three capsules under the hood. The specs bear that out; it records in 24-bit, features a 20Hz – 20kHz frequency response, and manages 121dB SPL at 1% THD.
I ran the mic through its paces mainly as a voice mic for podcasting. My day-to-day mic is the Blue Yeti, which I enclose in an open-box with baffling, and I keep a pop filter mounted in front of the mic. For the NT-USB Mini, no pop filter is required because Rode integrated a filter internally. In fact, it prevented plosives pretty effectively, always giving me very smooth audio recordings.
Unfortunately, the microphone’s core conceit quickly exposed a serious problem. Since it sits only 5 inches or so high, using it was, well, a literal pain in the neck. Most mics work best when you’re virtually eating them, and the NT-USB Mini seems to do best when you’re about 3-4 inches away. Pull back even a foot, and the deep, warm tone you get from vocal audio rolls off dramatically into a thin sound that lacks bass and mids. This mic wants you to be close.
But how do you do this when the mic is only 5 inches high? I propped it up with books and boxes, but that made it challenging to fit it in my baffle box. The bottom line: As cool as the mic looks and how compact it is, this isn’t a mic I could use without mounting it on a boom arm, so I could position it right where I need it.
Getting past the problem with its mini-ness, the NT-USB Mini performed admirably. As I alluded to, the audio is warm and full, with a healthy mid that makes vocal audio sound great. You do need to stay close, though, and the mic’s response falls off dramatically near the east and west coordinates. Moreover, it hears almost nothing behind. That’s an advantage if you’re recording on your own in a room that might have ambient sounds beyond your control. But if you need to do face-to-face interviews, a single NT-USB Mini is not going to get the job done.
One other frustration: the mic has no mute button, which I didn’t realize how much I would miss until I started testing the Rode. You’ll need to mute via software, if that’s a possibility with the app you’re using to record. Purchasing Guide The Rode NT-USB Mini is available on Amazon, Adorama, and B&H for $99.