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Is it simply a sign of the times or just a clever move by one of the leading UK supermarkets to begin stocking electronic cigarettes? In March 2012, Tesco began stocking e cigarettes in its in store pharmacies up and down the country.
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Here at Smart Smoker, it's already been an incredible journey and we have been delivering the Smart Smoker brand of e cig to vapers throughout the UK and Europe since 2008 (we were one of the first major online distributors in the UK) and our range of products has grown and evolved through each generation of the e cig to where we are today with models such as the "Breeze", "Hurricane", "Storm", "Cyclone" and the "Typhoon Tank".
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Saints over Texans post game discussion post
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Are you a Braman brah? A look at Texans special teams.
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It's 12:30 am. I just got home after a stop at Whataburger to get the freshest, best tasting taquito I've ever had. If you want to know, it was the bacon, egg and cheese one because they were all out of the potato kind. People can rave about all sorts of burger places, but unless […]
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Sam Harris sez:
Thanks for posting the "Sony Nastygrams Beatallica" story the other day. Us fans, known affectionately on the Beatallica message board as Beatallibangers, are rallying round to help the lads fight back at the bullies from Sony Music. To start with, we have an online petition asking Sony to basically get a grip and realise that the music Beatallica distribute is parody, and therefore legal.Link


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Truth Guard - Home. Provender. Thy Word is a Light Unto My Path. The Prophets' Story - English.mp4. When Love Trumps Right Belief. Each of us has directives we live by.
The directive to love is at the very heart of most faith traditions, along with being the first and foremost standard to live by for many who do not profess a specific religious belief. But as we know, directives can often be in conflict with each other, leading to what psychologists call cognitive dissonance. I may have love as my most important guiding principle in life, but if someone tries to take something precious from me, whether in the form of possessions, power, or even people, I may also firmly believe that it is right for me to defend, leading me to respond in ways that are anything but loving. What do I do? If and when these two directives are in conflict, do I love or do I defend? My take: Why my church rebelled against the American Dream. Editor's Note: David Platt, Ph.D., is the author of the New York Times bestseller Radical: Taking Back Your Faith from the American Dream and is senior pastor of the 4,000-member Church at Brook Hills in Birmingham, Alabama.
By David Platt, Special to CNN We American Christians have a way of taking the Jesus of the Bible and twisting him into a version of Jesus that we are more comfortable with. A nice middle-class American Jesus. A Jesus who doesn't mind materialism and would never call us to give away everything we have. A Jesus who is fine with nominal devotion that does not infringe on our comforts. The Top 100 Christian Books of 2010. The books in the table below represent the top 100 bestselling Christian books of 2010.
It is based on unit sales for the twelve months ending December 31, 2010. Photo courtesy of ©iStockphoto.com/rachwal81 We created these lists from a proprietary database we have assembled at Thomas Nelson. It is based on various point-of-sale systems from multiple sales channels. If you are just getting started with Evernote, I suggest that you buy Brett Kelly's remarkably practical e-book, Evernote Essentials, Second Edition.


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Investigations into the use of overall migration methods to test for substances with high specific migration limits
Project Code: A03013;
- Bradley, E.L., Castle, L., Jickells, S.M., Mountfort, K.A., Read, W.A. (2009) Use of overall migration methodology to test for food-contact substances with specific migration limits. Food Additives & Contaminants: Part A. 26: 574-582.
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The aim of this project was to evaluate the possibilities and limitations of using gravimetric overall migration (OM) results to reduce the need for individual chemical analysis for the migration levels of specific substances. If for example the OM result for a plastic was numerically lower (in mg/kg units) than the specific migration limit (SML) for one or more monomers or additives used in that plastic, then there would be no need to test specifically for the migration of these substances. This approach would only work if the substance in question was reliably included in the OM result - i.e. was not volatile, unstable etc. From a total of 131 substances thought to be possible candidates for this approach, it was judged that 92 would be suitable under certain circumstances - most especially with polymers showing low background migration of largely oligomeric material.
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FOR IMMEDIATE RELEASE:Thursday, Aug. 2, 2012
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CENTENNIAL, Colo. (8/2/12) – It is with deep sadness the Colorado National Guard announces the loss of one of its own.
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ISRN Geometry
Volume 2012 (2012), Article ID 876276, 14 pages
On the Conharmonic Curvature Tensor of Generalized Sasakian-Space-Forms
1Department of Pure Mathematics, University of Calcutta, 35 Ballygunge Circular Road, Kolkata, West Bengal 700019, India
2Department of Mathematical Sciences, A. P. S. University, Rewa, Madhya Pradesh 486003, India
Received 25 October 2012; Accepted 28 November 2012
Academic Editors: G. Martin and M. Visinescu
Copyright © 2012 U. C. De et al. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
The object of the present paper is to characterize generalized Sasakian-space-forms satisfying certain curvature conditions on conharmonic curvature tensor. In this paper we study conharmonically semisymmetric, conharmonically flat, -conharmonically flat, and conharmonically recurrent generalized Sasakian-space-forms. Also generalized Sasakian-space-forms satisfying and have been studied.
1. Introduction
Conformal transformations of a Riemannian structures are an important object of study in differential geometry. Of considerable interest in a special type of conformal transformations, conharmonic transformations, which are conformal transformations are preserving the harmonicity property of smooth functions. This type of transformation was introduced by Ishii [1] in 1957 and is now studied from various points of view. It is well known that such transformations have a tensor invariant, the so-called conharmonic curvature tensor. It is easy to verify that this tensor is an algebraic curvature tensor; that is, it possesses the classical symmetry properties of the Riemannian curvature tensor.
Let and be two Riemannian manifolds with and being their respective metric tensors related through where is a real function. Then and are called conformally related manifolds, and the correspondence between and is known as conformal transformation [2].
It is known that a harmonic function is defined as a function whose Laplacian vanishes. A harmonic function is not invariant, in general. The conditions under which a harmonic function remains invariant have been studied by Ishii [1] who introduced the conharmonic transformation as a subgroup of the conformal transformation (1.1) satisfying the condition where comma denotes the covariant differentiation with respect to metric . A rank-four tensor that remains invariant under conharmonic transformation for -dimensional Riemannian manifold is given by where and denote the Riemannian curvature tensor of type defined by and the Ricci tensor of type , respectively.
The curvature tensor defined by (1.3) is known as conharmonic curvature tensor. A manifold whose conharmonic curvature tensor vanishes at every point of the manifold is called conharmonically flat manifold. Thus this tensor represents the deviation of the manifold from canharmonic flatness. Conharmonic curvature tensor has been studied by Abdussattar [3], Siddiqui and Ahsan [2], Özgür [4], and many others.
Let be an almost contact metric manifold equipped with an almost contact metric structure . At each point , decompose the tangent space into the direct sum , where is the 1-dimensional linear subspace of generated by . Thus the conformal curvature tensor is a map An almost contact metric manifold is said to be (1) conformally symmetric [5] if the projection of the image of in is zero, (2)-conformally flat [6] if the projection of the image of in is zero, (3)-conformally flat [7] if the projection of the image of in is zero.
Here cases (1), (2), and (3) are synonymous to conformally symmetric, conformally flat and conformally flat. In [5], it is proved that a conformally symmetric -contact manifold is locally isometric to the unit sphere. In [6], it is proved that a -contact manifold is -conformally flat if and only if it is an Einstein Sasakian manifold. In [7], some necessary conditions for -contact manifold to be -conformally flat are proved. Moreover, in [8] some conditions on conharmonic curvature tensor are studied which has many applications in physics and mathematics on a hypersurfaces in the semi-Euclidean space . Also, it is shown that every conharmonically Ricci-semisymmetric hypersurface satisfies the the condition is pseudosymmetric.
On the other hand a generalized Sasakian-space-form was defined by Alegre et al. [9] as the almost contact metric manifold whose curvature tensor is given by where are some differential functions on and for any vector fields on . In such a case we denote the manifold as . This kind of manifold appears as a generalization of the well-known Sasakian-space-forms by taking , . It is known that any three-dimensional trans-Sasakian manifold with depending on is a generalized Sasakian-space-form [10]. Alegre et al. give results in [11] about B. Y Chen's inequality on submanifolds of generalized complex space-forms and generalized Sasakian-space-forms. Al-Ghefari et al. analyse the CR submanifolds of generalized Sasakian-space-forms [12, 13]. In [14], Kim studied conformally flat generalized Sasakian-space-forms and locally symmetric generalized Sasakian-space-forms. De and Sarkar [15] have studied generalized Sasakian-space-forms regarding projective curvature tensor. Motivated by the above studies, in the present paper, we study flatness and symmetry property of generalized Sasakian-space-forms regarding conharmonic curvature tensor. The present paper is organized as follows.
In this paper, we study the conharmonic curvature tensor of generalized Sasakian-space-forms. In Section 2, some preliminary results are recalled. In Section 3, we study conharmonically semisymmetric generalized Sasakian-space-forms. Section 4 deals with conharmonically flat generalized Sasakian-space-forms. -conharmonically flat generalized Sasakian-space-forms are studied in Section 5 and obtain necessary and sufficient condition for a generalized Sasakian-space-form to be -conharmonically flat. In Section 6, conharmonically recurrent generalized Sasakian-space-forms are studied. Section 7 is devoted to study generalized Sasakian-space-forms satisfying . The last section contains generalized Sasakian-space-forms satisfying .
2. Preliminaries
If, on an odd-dimensional differentiable manifold of differentiability class , there exists a vector valued real linear function , a 1-form , the associated vector field , and the Riemannian metric satisfying for arbitrary vector fields and , then is said to be an almost contact metric manifold [16], and the structure is called an almost contact metric structure to . In view of (2.1), (2.2) and (2.3), we have Again we know [9] that in a -dimensional generalized Sasakian-space-form for all vector fields on , where denotes the curvature tensor of : We also have for a generalized Sasakian-space-forms where is the Ricci operator, that is, .
A generalized Sasakian space-form is said to be -Einstein if its Ricci tensor is of the form: for arbitrary vector fields and , where and are smooth functions on . For a -dimensional almost contact metric manifold the conharmonic curvature tensor is given by [17]: The conharmonic curvature tensor in a generalized Sasakian-space-form satisfies
3. Conharmonically Semisymmetric Generalized Sasakian-Space-Forms
Definition 3.1. A dimensional generalized Sasakian-space-form is said to be conharmonically semisymmetric [15] if it satisfies , where is the Riemannian curvature tensor, and is the conharmonic curvature tensor of the space-forms.
Theorem 3.2. A dimensional generalized Sasakian-space-form is conharmonically semisymmetric if and only if .
Proof. Let us suppose that the generalized Sasakian-space-form is conharmonically semisymmetric. Then we can write
The above equation can be written as
In view of (2.10) the above equation reduces to
Now, taking the inner product of above equation with and using (2.2) and (2.17), we get
From the above equation, we have either or
which by using (2.15) and (2.16) gives
which is not possible in generalized Sasakian-space-form. Conversely, if , then from (2.10), we have . Then obviously is satisfied. This completes the proof.
4. Conharmonically Flat Generalized Sasakian-Space-Forms
Theorem 4.1. A dimensional generalized Sasakian-space-form is conharmonically flat if and only if .
Proof. For a dimensional conharmonically flat generalized Sasakian-space-form, we have from (2.15) In view of (2.6) and (2.7) the above equation takes the form By virtue of (2.5) the above equation reduces to Now, replacing by in the above equation, we obtain Putting in the above equation, we get Since , in general, we obtain Again replacing by in (4.3), we get which, by putting , gives Since , in general, we obtain From (4.6) and (4.9), we have Thus in view of (4.9) and (4.10), we have Conversely, suppose that satisfies in generalized Sasakian-space-form, and then we have Also, in view of (2.15), we have where and . Putting in (4.14) and taking summation over , we get In view of (2.5) and (4.14), we have Now, putting in above equation and taking summation over , , we get In view of (4.12), (4.15) and (4.17), we have Putting in above equation and taking summation over , , we get . Then in view of (4.11), . Therefore, we obtain from (2.5) Hence in view of (4.12), (4.13) and (4.19), we have . This completes the proof.
5. -Conharmonically Flat Generalized Sasakian-Space-Forms
Definition 5.1. A dimensional generalized Sasakian-space-form is said to be -conharmonically flat [6] if for all .
Theorem 5.2. A dimensional generalized Sasakian-space-form is -conharmonically flat if and only if it is Einstein manifold.
Proof. Let us consider that a generalized Sasakian-space-form is -conharmonically flat, that is, . Then in view of (2.15), we have In virtue of (2.9) and (2.12) the above equation reduces to which by putting gives Now, taking the inner product of the above equation with , we get which shows that generalized Sasakian-space-form is an -Einstein manifold. Conversely, suppose that (5.4) is satisfied. Then by virtue of (5.1) and (5.3), we have . This completes the proof.
6. Conharmonically Recurrent Generalized Sasakian-Space-Forms
Definition 6.1. A nonflat Riemannian manifold is said to be conharmonically recurrent if its conharmonic curvature tensor satisfies the condition where is nonzero 1-form.
Theorem 6.2. A dimensional generalized Sasakian-space-form is conharmonically recurrent if and only if .
Proof. We define a function on , where the metric is extended to the inner product between the tensor fields. Then we have
This can be written as
From the above equation, we have
Since the left hand side of the above equation is identically zero and on , then
that is, 1-form is closed.
Now from
we have
In view of (6.5) and (6.7), we have
Thus in view of Theorem 3.2, we have . Converse follows from retreating the steps.
Corollary 6.3. Conharmonically recurrent generalized Sasakian-space-form is conharmonically semisymmetric.
Proof. Proof follows from the above theorem.
7. Generalized Sasakian-Space-Forms Satisfying
Theorem 7.1. A dimensional generalized Sasakian-space-form satisfying is an -Einstein manifold.
Proof. Let us consider generalized Sasakian-space-form satisfying . In this case we can write In view of (2.18) the above equation reduces to Now, putting in the above equation, we get In virtue of (2.6) the above equation takes the form: where . This completes the proof.
8. Generalized Sasakian-Space-Forms Satisfying
Theorem 8.1. A -dimensional generalized Sasakian-space-form satisfying is an -Einstein manifold.
Proof. Let generalized Sasakian-space-form satisfying This can be written as which on using (2.18) takes the following form: Now taking the inner product of the above equation with , we get In consequence of (2.5), (2.9), (2.10), and (2.11) the above equation takes the form: Putting in the above equation and taking summation over , , we get which shows that is an Einstein manifold. This completes the proof.
- Y. Ishii, "On conharmonic transformations," Tensor, vol. 7, pp. 73–80, 1957. View at Zentralblatt MATH
- S. A. Siddiqui and Z. Ahsan, "Conharmonic curvature tensor and the spacetime of general relativity," Differential Geometry—Dynamical Systems, vol. 12, pp. 213–220, 2010. View at Zentralblatt MATH
- D. B. Abdussattar, "On conharmonic transformations in general relativity," Bulletin of Calcutta Mathematical Society, vol. 41, pp. 409–416, 1966.
- C. Özgür, "On ϕ-conformally flat Lorentzian para-Sasakian manifolds," Radovi Mathemaicki, vol. 12, no. 1, pp. 96–106, 2003.
- Z. Guo, "Conformally symmetric -contact manifolds," Chinese Quarterly Journal of Mathematics, vol. 7, no. 1, pp. 5–10, 1992.
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Reimagined Magic: Disney Cruise Line Announces Major Overhaul for the Disney Magic
During this morning's Monstrous Summer presentation at Walt Disney World, Karl Holz, President of Disney Cruise Line along with Senior Creative Vice President for Walt Disney Imagineering, Joe Lanzisero, announced the plans for a major overhaul of the fifteen year old Disney Magic and more than likely some of the same for her sister ship, the Disney Wonder.
The Disney Magic will undergo a 6 week refurbishment at Navantia's Puerto Real in Cadiz, Spain from September 7th to around October 10th. The Magic will grow from 964 feet to 984 feet and gain 1,000 gross tons. Then, work will continue during the Westbound Transatlantic sailing, which will sail without passengers for obvious reasons.
This announcement finally puts to bed the speculation of two new ships and the marvelous rumors as to what will be done in dry dock.
Pool Deck Remodel
The top deck of the Disney Magic will emerge from dry dock with her own unique water slide, a scaled down version of the AquaDuck called AquaDunk.
The AquaDunk body slide will take guests on a 3-story vertical drop from the top of the forward funnel on a loop-de-loop through a clear acrylic tube extending around 20 feet over the port side of the ship before ending with a big splash on Deck 10. So far, the height requirement for the AquaDunk is set at a 48-inch minimum.
Not only will the AquaDunk be added to the forward funnel, but Funnel Vision will receive an upgrade.
AquaDunk Ride Simulation Video
Twist n' Spout & AquaLab
Twist n' Spout will be a scaled up version of the Mickey Slide, with the Mickey Pool becoming the AquaLab. This is so much cooler than the layout on the Fantasy! Disney really got this area right putting all the children's activities in one area making it much easier for families to keep a watchful eye on everyone! We found the AquaLab on the Fantasy to be out of the way with the Mickey pool & slide, Donald pool, and AquaDuck garnering all our daughter's attention.
Twist n' Spout is for guests between 38 and 64 inches tall.
An expanded area similar to Nemo's reef called Nephew's Splash Zone will be added for the little ones under age 3.
Atrium Remodel
My favorite area on all of the ships is the Atrium Lobby. The atrium on the Disney Magic will be re-imagined to be in line with her younger sisters; gone will be the twin staircases freeing up more floor space for events like the Princess Gathering. Thankfully, Helsman Mickey will remain to greet guests.
Here is the current version of the Disney Magic's Atrium lobby for comparison.
The Dale Chihuly chandelier will also give way to a new design.
Restaurant Remodels
Parrot Cay, one of the three rotational restaurants will be transformed into a Brazilian themed restaurant named Carioca's. Carioca is defined as a native of Rio de Janeiro, and is the last name of José, one of the Three Caballeros. A slight change from the original concept art the flags have been replaced with lanterns.
Similar to Enchanted Garden on the Dream & Fantasy, the Carioca's will transition from a vibrant festival theme during the day to an after-hours scene of Rio de Janiero, with the windows softly illuminated with the overhead lanterns flickering at night.
Animator's Palate
The unique design of Animator's Palate will remain mostly unchanged other than updated HD video screens, and sound system. There will be an all new Drawn to Magic experience where the black and white walls or blank canvas explodes into full color during the course of the dinner. Don't worry, "all new", in this case simply means an upgraded show with new favorites like Rapunzel and Remy.
Animator's Palate will emerge from dry dock with the Animation Magic dinner show, which debuted on the Disney Fantasy. During the Animation Magic show you are provided with a placemat to draw your own character which will be transformed into an animated character by the end of your dinner.
The adult only signature resturaunt, Palo, will be freshened up to continue providing an exclusive dining experience with a breathtaking view. Palo will receive stylish new fixtures, glass artwork and new stone floors. Red and white striped poles reminiscent of those found throughout the canals in Venice are a design feature. Did you know that Palo was named after those red and white striped poles. It's true.
Topsider Buffet will be converted into the Australian themed Cabanas with a theme similar to that found on the Disney Fantasy and Disney Dream. The remodel will increase the usable space by nearly 3,400 square feet to more than 9,460 square feet for a total of 455 air conditioned seats.
Deck 9 Quick Service
Pluto's Dog House will become Pete's Boiler Bites grilling up hot dogs, hamburgers along with chicken tenders and tasty tacos.
Goofy's Galley will converted into Daisy's De-Lites serving up fresh fruits, salads, wraps, and sandwiches among other things.
Pinocchio's Pizzeria will remain as the go to place for PIZZA! Finally, the Disney Dream & Disney Fantasy ice cream shop Eye Scream and Frozone Treats will serve up cool poolside refreshments.
Family Space Remodel
See ya later Studio Sea. Bringing the Magic in line with her younger sisters, Studio Sea will emerge from dry dock as D-Lounge, a venue for family-friendly games, shows, dances and other various activities.
Kids Space Remodel
Disney's Oceaneer Club
The Oceaneer Club open to children between the ages of 3 and 12 will be gutted to make room for fairies, super heroes, larger than life toys, and a club fit for a Mouse! Based on the rendering of the Atrium, it appears the entrance will be relocated from the starboard corner in the atrium to the port side hallway like it is on the Dream & Fantasy.
The kids areas will also be seeing an overhaul. A two-story Andy's Room complete with a larger than life bed with a Slinkly Dog slide! YES, there will be a slide in the Oceaneer Club!!!
Another new area, Mickey Mouse Club, will be dedicated to the Mouse who started it all, and provide children with a place to create unique crafts and color.
Pixie Hollow will also be added to the Oceaneer Club and will house the Princess dress-up costumes.
Marvel Avengers' Academy will be a all new experience for Disney Cruise Line. The academy invites young crime-fighters into this high-tech command post used by The Avengers to plan and train for special missions. During the course of the cruise, kids will have the opportunity sharpen their super hero skills and by the end of the cruise become their favorite super hero.
Oceaneer Lab
The Oceaneer Lab will also be getting a pirate themed facelift. The space will be full of high-tech gear to bring out the inner-pirate. Joe Lanzisero described the Oceaneer Lab a space where "Jules Vern meets Pirates of the Caribbean". If Captain Jack had this much tech, he would not need his compass. It is not clear if the entrance will be moved from the forward elevator/stairwell, but this seems likely based on the change of entrance for the Oceaneer Club. This change would mimic the design on the Dream & Fantasy.
it's a small world nursery
The nursery will be revitalized into a whimsical space inspired by the ride.
Adult Nightlife Remodels
Beat Street, the adult nighttime entertainment district which is the current area on deck 3 forward, will be re-themed to After Hours.
Time to shake the rocks out of the Magic ahead under the sea, Rockin' Bar D will become Fathoms. Fathoms is a night club inspired by the excitement of the seas using custom lighting and sound effects. Personally, this theme would work better on the Wonder which has Tritons restaurant and Ariel as the atrium statue. Who knows – this may also find its way to the Wonder in 2014.
Your music lessons in Sessions are over. Sessions will become Keys, a low-key piano bar. Keys will be a perfect to venue to relax, enjoy your favorite cocktail, or drink of the day all while enjoying the soft sounds of the piano.
O'Gills Irish Pub and Sports Bar
Rounding up After Hours is a slight change in direction, as Diversions makes a lateral move to O'Gills. Throw back a few cold ones in this Irish pub and sports bar while watching live sporting events. This looks almost identical to the version on the Fantasy.
Senses Spa & Salon
Bon Voyage Vista Spa; welcome aboard Senses Spa & Salon. Get ready to enter the realm of relaxation in an revitalized spa area. The spa will be expanded by 725 square feet and be filled with earth tones.
A new Smile Spa offers teeth whitening services, a new barbershop offers services for the gentlemen and the new Chill Spa provides treatments especially for teens 13 to 17 years of age.
Stateroom Remodels
The staterooms on the Magic will be redesigned and look quite similar to those found on the Dream & Fantasy. It does look like there will be a new print which looks like a collage adorning the wall opposite the bed. Bed frames will be elevated to provide storage space underneath for your luggage. It does not sound like the the inside staterooms will be upgraded with Virtual Portholes (or the latest trend virtual balconies). According to a quote from Lanzisero published on CruiseCritic.com, the virtual portholes were "cost prohibitive".
- The beds will be raised to allow for additional luggage storage.
- New customized Disney Cruise Line mattress
- 100% Egyptian cotton Frette linens
- New colors and textures
- 44 new connecting stateroom doors.
Concierge Suites
The concierge suites on the Disney Magic will be enhanced featuring all new decor and redesigned layout to provide even more space.
Royal Suites
Both the Walter E Disney (8030) and Roy O Disney (8530) Royal Suites on deck 8 will be redesigned will all new decor featuring high end furnishings.
Clearly, Disney is holding back on some of the changes coming to the Disney Magic. There was no specific mention of Midship Detective Agency, or Enchanted artwork during the presentation.
Duck Tail
If you look close at the rendering of the post dry dock Disney Magic, there are some notable difference to the overall structure of the ship aside from the top deck.
It sure looks like there is structural change to the aft based on the latest rendering when compared to a real photo.
According to the post dry dock spec sheet, the Disney Magic will grow from 964 feet to 984 feet and gain 1,000 gross tons which appears to be from an addition to the stern in the form of a ducktail. Not DuckTales (although Uncle Scrooge would be a great addition); a ducktail. A duck tail is added on modern cruise ships to increase overall stability of the vessel by giving the ship a more stable base, thus allowing for cool new features.
Ducktail: An extension to ship's stern. On older ships the diminished stability can be regained by adding a ducktail. Ducktail is also used on newbuildings; there the primary purpose is often to reduce the power consumption for propulsion. Naval Architecture Terms via Foreship.com
The hidden Mickey on the bow, the crew pool, and the spare anchor are missing from the rendering. Keep in mind this is just a rendering and may simply be an omission to reduce the focus on the crew pool considering to avoid any confusion, as the bow area on the Dream & Fantasy is the teen-only area, Vibe.
Online Video Documentary Series
I am thrilled that Disney plans to document this major refurbishment and produce a new online documentary series Disney Magic Re-Imagined with Danny Forster.
Disney Cruise Line Monstrous Summer Presentation
The Disney Cruise Line presentation started with Karl Holz stating, "We have always been committed to reinvesting in our fleet and continuously making shipboard enhancements that elevate the guest experience," and "What we're doing with the Disney Magic is yet another step forward in our commitment to delivering the absolute best family vacations at sea." Holz, then introduced Imagineer Joe Lanzisero. Lanzisero was part of the original team that designed and built her in Italy in the late 1990s. "Storytelling is at the heart of everything we do," said Lanzisero. "Walt Disney was a master storyteller and knew how to engage people's emotions into stories. Our job is to take what we learned from Walt and apply it to the experiences on board our ships."
The following is the full video presentation of the Disney Magic Enhancement press event with Karl Holz and Joe Lanzisero which is available on YouTube via WDWInfo.com.
Still looking for more?! Check out InsideTheMagic.com for an exclusive interview with Imagineer Lysa Migliorati.
The Disney Magic will go into dry dock this fall following her Mediterranean cruises before returning to Miami to sail on two, three, four and five night Bahamian cruise as well as five-night Western Caribbean cruises. Disney Cruise Line has created a beautiful website to showcase the reimagined Disney Magic.
The Disney Wonder, which was not referenced during today's press event, will have to wait a year. She will undergo her remodel from October 10 to November 15th following a brief stint out of Port Canaveral. One question still up in the air is: when will the Disney Dream go in for her required routine dry dock?
What do you think about the planned changes?
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35 Responses to Reimagined Magic: Disney Cruise Line Announces Major Overhaul for the Disney Magic
Cabanas is confirmed via an email to TAs, and also on the TA website. And a huge plus…new bedding finally!!!
You met most of the changes on my "Bucket Rehab Magic List". However, you keep any rehab of the sleeping room a secret. Come on,… what can we expect beside new carpet. Make it Magical! Also, will Luminers dining room remain the same or a new theme?
Kudos to Disney for making these much overdue changes! They look fabulous! However, two comments… 1.) I think that Disney mised the mark on the redesign of Parrot Cay. Although Carioca's will provide a much needed update to the restaurant, I can't help but feel that it will still lack some of that famous Disney "magic". I realize that Enchanted Garden on the Fantasy is not the main draw either, but it would have been nice to see something completely brand new and awe-inspiring to DCL. 2.) No mention of a redesign of Shutters? Maybe it will be announced later, but this is a biggie on my wish list!
The staterooms are getting new bedding, and it looks like they will have the same beds as the Dream class ships. Suites appear to be receiving new furniture as well.
This is why I love your blog Scott, I feel I'm pretty on top of what's up with DCL and did know about the announcement for the Magic's remodel, but once again you went one step further and had even more information. It's nice to know I can always count on you to get the most information as soon as or even before anyone else. I'm still going to keep looking for that chink in the armor though.
Good eye on the missing Mickey from the bow. My guess is that will stay and was just not included in the renderings. Can't imagine they would take away that icon!
As always, great reporting! -
Scott- Any news if enchanted artwork or inside stateroom Portals are being added too?
All the changes seem positive, although I have reservations about the re-imagined atrium. The present one is one of the best looking spaces afloat (IMHO) and the new one will look unbalanced and less elegant with only the one staircase. But I don't think I will miss the chandelier. And I echo the above "thanks, Scott" for posting this information.
I'm torn about this… I love the classic ships, and was not that blown away by the Dream on my last cruise. I just hope that the overall feel of the Magic doesn't change too much. I understand that these things need to be done to keep people excited about the classic ships, but for those of us who earned our Castaway Club status on the Magic and the Wonder, the changes might be hard for sentimental reasons.
That being said, the changes look amazing! The only things I'm not thrilled about are the changes to the atrium, and Parott Cay. Parrot Cay was our favorite restaurant as the atmosphere fit so well with the Caribbean cruises! Also while the refurb of the Club and Lab look awesome, I did not like the check in process in the hallway on the Dream, so I am sorry to see that they may be going in that direction…
Great work getting the inside scoop!
After digesting the many photos and commentary, I am NOT THRILLED with the re-design of the Atrium. The two stair cases and Mickey really made THE Magic a Majestic ship entrance. The Chandelier was specially designed for the ship and was unique to this great vessel. Its a poor excuse to take this keynote ATRIUM and make it a gymnasium to meet and greet Princesses! This needs major re-thinking on Disney's behalf. Disney needs to go back to the statements made by Disney management about the Magic when it was first introduced. I am also concerned about the excessive use of "gray" colors in the dining rooms. The classic Mickey colors of Blue, Red and gold should be the theme colors for the ship.. not gray and pastel this and that. I strongly urge Disney designers to stick to the plan in keeping the Magic majestic.. the most classic Cruise Ship on the Seas.. not the newest "teckie designed". I could see using some of these new color schemes on the Wonder with its Art Nouvelle designs. BUT KEEP THE MAGIC CLASSIC AND MAJESTIC. Frankly, I would strong avoid using green and brown on a ship.. not nautical color.. keep those for the resorts on land. Lastly Scott, what's in store for the rehab of the adult pool…. hope they keep the pool in its same configuration so we can do some laps.
Any idea why the stern of the ship is being so altered?
It certainly doesn't give the ship cleaner lines. Nautical reason? -
Does anyone know what they will be doing with the original chandeliers in the atrium?
I would certainly hope they will put them back up in their original places…they are great, designed for this ship and not meant to go anywhere else. The dual staircases should never be touched.
What about the edge and vibe?
Any discussion about adjoining verandas such as on the Fantasy?
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Does anyone think that Disney will actually build more ships soon? We were talking to our DVC Salesman & he said that they are definitely being built. Makes me wonder?
Amanda; when Disney Cruise Line built the Dream and Fantasy, they also placed options with the shipyard for two more ships (kind of like 'taking a FastPass' to jump the line when they are ready to build.) So, what Scott said, but we haven't seen them announced.
I sure hope they are adding a concierge lounge so that we can try this ship out. I don't think I would sail without it:)
I'm so sad to see the double staircases being removed. They are really beautiful.
Does any body know the itinerary after leaving the drydock?
What about edge and vibe?
We went Thanks to make a wish. We loved the beds , I have Fybromoalgia and Islept like a baby for the first time in years. Sorry to hear the beatiful chandelier is going it made u feel like u were walking into a fairytale. My daughter loved it, the best four days of uor family.
Was the teen club redone at all?


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From Wikipedia, the free encyclopedia - View original article
Neal Adams | |
Adams at the Wizard World New York Experience | |
Born | Governors Island, Manhattan, New York City | June 6, 1941
Nationality | American |
Area(s) | Writer, Penciller, Inker, Editor, Publisher |
Notable works | Batman Brave and the Bold Detective Comics Green Lantern/Green Arrow Strange Adventures (Deadman) Superman vs. Muhammad Ali X-Men |
Awards | Alley Awards
Shazam Awards
http://www.nealadams.com |
Neal Adams | |
Adams at the Wizard World New York Experience | |
Born | Governors Island, Manhattan, New York City | June 6, 1941
Nationality | American |
Area(s) | Writer, Penciller, Inker, Editor, Publisher |
Notable works | Batman Brave and the Bold Detective Comics Green Lantern/Green Arrow Strange Adventures (Deadman) Superman vs. Muhammad Ali X-Men |
Awards | Alley Awards
Shazam Awards
http://www.nealadams.com |
Neal Adams (born June 6, 1941)[1][2] is an American comic book and commercial artist known for helping to create some of the definitive modern imagery of the DC Comics characters Superman, Batman, and Green Arrow; as the co-founder of the graphic design studio Continuity Associates; and as a creators-rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster.
Adams was inducted into the Eisner Award's Will Eisner Comic Book Hall of Fame in 1998, and the Harvey Awards' Jack Kirby Hall of Fame in 1999.
Neal Adams was born on Governors Island, New York City, New York,[2] and attended the School of Industrial Art high school in Manhattan.[3][4] Adams graduated in 1959.[5]
After graduation in 1959, he unsuccessfully attempted to find freelance work at DC Comics,[5] and turned then to Archie Comics, where he wanted to work on the publisher's fledgling superhero line, edited by Joe Simon. At the suggestion of staffers, Adams drew "three or four pages of [the superhero] the Fly", but did not receive encouragement from Simon.[6] Sympathetic staffers nonetheless asked Adams to draw samples for the Archie teen-humor comics themselves. While he did so, Adams said in a 2000s interview, he unknowingly broke into comics:
I started to do samples for Archie and I left my Fly samples there. A couple weeks later when I came in to show my Archie samples, I noticed that the pages were still there, but the bottom panel was cut off of one of my pages. I said, 'What happened'. They said, 'One of the artists did this transition where Tommy Troy turns into the Fly and it's not very good. You did this real nice piece so we'll use that, if it's OK.' I said, 'That's great. That's terrific.'[6]
That panel ran in Adventures of the Fly #4 (Jan. 1960).[6] Afterward, Adams began writing, penciling, inking, and lettering[3] humorous full-page and half-page gag fillers for Archie's Joke Book Magazine.[6] In a 1976 interview, he recalled earning "[a]bout $16.00 per half page and $32.00 for a full page. That may not seem like a great deal of money, but at the time it meant a great deal to myself as well as my mothers ... as we were not in a wealthy state. It was manna from heaven, so to speak." A recommendation led him to artist Howard Nostrand, who was beginning the Bat Masterson syndicated newspaper comic strip, and he worked as Nostrand's assistant for three months, primarily drawing backgrounds at what Adams recalled as $9 a week and "a great experience".[3]
Having "not left Archie Comics under the best of circumstances",[3] Adams turned to commercial art for the advertising industry. After a rocky start freelancing, he began landing regular work at the Johnstone and Cushing agency, which specialized in comic-book styled advertising.[7] Helped by artist Elmer Wexler, who critiqued the young Adams' samples, Adams brought his portfolio to the agency, which initially "didn't believe I had done those particular samples since they looked so much like Elmer Wexler's work. But they gave me a chance and ... I stayed there for about a year".[8]
In 1962, Adams began his comics career in earnest at the NEA newspaper syndicate. From a recommendation, writer Jerry Caplin, a.k.a. Jerry Capp, brother of Li'l Abner creator Al Capp, invited Adams to draw samples for Capp's proposed Ben Casey comic strip, based on the popular television medical-drama series.[6] On the strength of his samples and of his "Chip Martin, College Reporter" AT&T advertising comic-strip pages in Boys' Life magazine, and of his similar Goodyear Tire ads,[9] Adams landed the assignment.[6] The first daily strip, which carried Adams' signature, appeared November 26, 1962; a color Sunday strip was added September 20, 1964.[10] Adams continued to do Johnston & Cushing assignments during Ben Casey's 3 1/2-year run.[11]
Comics historian Maurice Horn said the strip "did not shrink from tackling controversial problems, such as heroin addiction, illegitimate pregnancy, and attempted suicide. These were usually treated in soap opera fashion ... but there was also a touch of toughness to the proceedings, well rendered by Adams in a forceful, direct style that exuded realism and tension and accorded well with the overall tone of the strip".[10]
In addition to Capp, Jerry Brondfield also wrote for the strip, with Adams stepping in occasionally.[12]
The ABC series, which ran five seasons, ended March 21, 1966, with the final comic strip appearing Sunday, July 31, 1966.[10] Despite the end of the series, Adams has said the strip, which he claimed at different points to have appeared in 365 newspapers,[8] 265 newspapers,[13] and 165 newspapers,[14] ended "for no other reason that it was an unhappy situation":
We ended the strip under mutual agreement. I wasn't happy working on the strip nor was I happy giving up a third of the money to [the TV series' producer,] Bing Crosby Productions. The strip I should have been making twelve hundred [dollars] a week from was making me three hundred to three-fifty a week. On top of that, I was not able to express myself artistically when I wanted to. But we left under very fine conditions. I was even offered a deal in which I would be paid so much a month if I would agree not to do any syndicated strip for anyone else, in order that I might save myself for anything they have for me to do.[8]
Adams' goal at this point was to be a commercial illustrator.[6] While drawing Ben Casey, he had continued to do storyboards and other work for ad agencies,[6] and said in 1976 that after leaving the strip he had shopped around a portfolio for agencies and for men's magazines, "but my material was a little too realistic and not exactly right for most. I left my portolio in an advertising agency promising they were going to hold on to it. In the meantime I needed to make some money ... and I thought, 'Why don't I do some comics?'"[15] In a 2000s interview, he remembered the events slightly differently, saying "I took [my portfolio] to various advertising people. I left it at one place overnight and when I came back to get it the next morning it was gone. So six months worth of work down the drain...."[6]
He worked as a ghost artist for a few weeks in 1966 on the comic strip Peter Scratch (1965–1967), a hardboiled detective serial created by writer Elliot Caplin, brother of Al Capp and Jerry Capp, and artist Lou Fine.[16] Comics historians also credit Adams with ghosting two weeks of dailies for Stan Drake's The Heart of Juliet Jones, but are uncertain on dates; some sources give 1966, another 1968, and Adams himself 1963.[12] As well, Adams drew 18 sample dailies (three weeks' continuity) of a proposed dramatic serial, Tangent, about construction engineer Barnaby Peake, his college-student brother Jeff, and their teenaged sibling Chad, in 1965, but it was not syndicated.[17] Adams later said that Elliot Caplin offered Adams the job of drawing a comic strip based on author Robin Moore's The Green Berets, but that Adams, who opposed the Vietnam War, where the series was set, suggested longtime DC Comics war-comics artist Joe Kubert, who landed that assignment.[14]
Turning to comic books, Adams found work at Warren Publishing's black-and-white horror-comics magazines, under editor Archie Goodwin.[18] Adams debuted there as penciler and inker of writer Goodwin's eight-page anthological story "Curse of the Vampire" in Creepy #14 (April 1967). He and Goodwin quickly collaborated on two more stories, in Eerie #9 (May 1967) and Creepy #15 (June 1967), and Adams as well reapproached DC Comics.
With DC war comics stalwart Joe Kubert now concentrating on the comic strip The Green Berets, Adams, despite his opposition to then-current U.S. military involvement in Vietnam,[14] saw an opening:
I really didn't like most of the comics [at DC] but I did like war comics, ... so I thought, 'You know, now that Joe is not working there, they've got Russ Heath and they are plugging other people in where Joe used to be. Maybe I could kind of shift into a Joe Kubert kind of thing and do some war comics, and kind of bash them out [quickly]'. ... So I went over to see [DC war-comics editor] Bob Kanigher and I showed him my stuff, and I did have that feeling that they were missing Joe — a guy who could draw and do that rough, action stuff. So he gave me some work".[14]
Adams made his DC debut as penciler-inker of the 8½-page story "It's My Turn to Die", written by Howard Liss, in the anthology series Our Army at War #182 (July 1967). He did a smattering of additional horror and war stories, respectively, for the two publishers, and then, after being turned down by DC's Batman editor Julius Schwartz, approached fellow DC editor Murray Boltinoff in the hopes of drawing for Boltinoff's Batman team-up title The Brave and the Bold.[14] Boltinoff instead assigned him to The Adventures of Jerry Lewis #101 (July–August 1967) and its full-length story "Jerry the Asto-Nut", written by Arnold Drake.[19][20] It became the first of a slew of stories and covers Adams would draw for that series and The Adventures of Bob Hope, two licensed titles starring fictional versions of the TV, film and nightclub comedians.
During this period near the end of the industry revival historians call the Silver Age of comic books, Adams was soon assigned his first superhero covers, illustrating that of the Superman flagship Action Comics #356 (Nov. 1967) and the same month's Superman's Girl Friend, Lois Lane #79 (Nov. 1967), featuring Superman and a mysterious new costumed character, Titanman. Also that month, Adams drew his first superhero story, teaming with writer Gardner Fox on the lighthearted backup feature "The Elongated Man" in Detective Comics #369, the flagship Batman title. Shortly afterward, he drew Batman himself, along with the supernatural superhero the Spectre, on the cover of The Brave and the Bold #75 (Jan. 1968) — the first published instance of Adams' work on what would become two of his signature comics characters. The first instance of Adams drawing Batman in an interior story was "The Superman-Batman Revenge Squads" in World's Finest Comics #175 (May 1968).[21]
Another signature character, in what would prove Adams' breakout series, was the supernatural hero Deadman, who had debuted in DC's Strange Adventures #205 (Nov. 1967). Adams succeeded co-creator artist Carmine Infantino with the following issue's 17-page story "An Eye for an Eye",[22] written by Arnold Drake, with George Roussos inking Adams' pencils. Adams went on to draw both the covers and stories for issues 207-216 (Dec. 1967 - Feb. 1969), and taking over the scripting with #212 (June 1968). The series became a fan sensation,[23] winning many awards and being almost immediately inducted into the Alley Award Hall of Fame, with Adams himself receiving a special award "for the new perspective and dynamic vibrance he has brought to the field of comic art".
Adams concurrently drew covers and stories for The Spectre #2-5 (Feb.-Aug. 1968), also writing the latter two issues, and became DC's primary cover artist well into the 1970s. Adams recalled that Infantino "was appointed art director, and decided I was going to be his spark plug. I also thought it was a good idea, and was promised a number of things which were never fulfilled. But I thought it would be an adventure anyway, so I knuckled down to things like 'Deadman', The Spectre and whatever odd things would come my way. I was also doing large amounts of covers".[24]
Adams was called upon to rewrite and redraw a Teen Titans story which had been written by then-newcomers Len Wein and Marv Wolfman. The story, titled "Titans Fit the Battle of Jericho!", would have introduced DC's first African American superhero but was rejected by publisher Carmine Infantino.[25] The revised story appeared in Teen Titans #20 (March–April 1969).
Adams' art style, honed in advertising and in the photorealistic school of dramatic-serial comics strips,[26] marked a signal change from most comics art to that time. Comics writer and columnist Steve Grant wrote in 2009 that,
Jim Steranko at Marvel and Neal Adams were the most prominent new artists of the late '60s to enter a field that had been relatively hostile to new artists ... and breaths of modernism, referencing advertising art and pop art as much as comics. Despite vastly different styles, both favored designs that drew on depth of focus and angularity that put the reader in the center of the action while slightly disorienting them to increase the tension, and placed special emphasis on lighting and body language as emotion cues. Not that these things were unknown in comics by any stretch, but publishers traditionally deemphasized them. [As well, b]oth were hugely influential on how a new generation of artists thought about what comics should look like, though Adams was arguably more influential; his approach was more visceral and, more importantly, he ran a studio in Manhattan [Continuity Associates] where many young artists started their professional careers.[27]
While continuing to freelance for DC, Adams in 1969 also began freelancing for Marvel Comics, where he penciled several issues of the mutant-superhero team title X-Men and one story for a horror anthology title. The Marvel Bullpen Bulletin of Fantastic Four #87 described Adams as having "one foot planted in our Marvel doorway. We're guessing your ecstatic comments, when you see the way he illustrated our latest X-MEN bombshell, will transform him into a Marvel madman from head to toe." Such freelancing across the two leading companies was rare at the time; most DC creators who did so worked pseudonymously.[28] Adams recalled in 1976:
The first time I got away from DC was when I went to Marvel to do the X-Men. It didn't stop me from working at DC; they were a little annoyed at me, but that was a calculated plan. ... If people saw that I would do such a thing, then other people might do it. Beyond that, it seemed like working for Marvel might be an interesting thing to do. It was, as matter of fact. I enjoyed working on the X-Men. [The company was] more friendly, a lot more real and I found myself delighting in the company of Herb Trimpe, John Romita and Marie Severin. I found them to be people who were not as oppressed as the people at National [i.e., DC Comics] were.[29]
He teamed with writer Roy Thomas on X-Men, then on the verge of cancellation,[30] starting with issue #56 (May 1969).[31] Adams penciled, colored, and, according to Thomas, did most of the plotting, including the entire plot for issue #65.[32] In that issue, his final work on the series, Adams and writer Dennis O'Neil, in one of that creative team's earliest collaborations,[33] revived the Professor X character.[34] While working on the series, Adams was paired for the first time with inker Tom Palmer, with whom he would collaborate on several acclaimed Marvel comics; the duo's work here netted them 1969 Alley Awards for Best Pencil Artist and Best Inking Artist, respectively. Thomas won that year for Best Writer. Though the team failed to save the title, which ended its initial run with #66 (March 1970), the collaboration here and on the "Kree-Skrull War" arc of The Avengers #93-97 (Nov. 1971 - May 1972) produced what comics historians regard as some of Marvel's creative highlights of the era.[35][36][37][38] Adams also wrote and penciled the horror story "One Hungers" in Tower of Shadows #2 (Dec. 1969), and co-wrote with Thomas, but did not draw, another in Chamber of Darkness #2 (Dec. 1969). Thomas and Adams collaborated again along with scripter Gerry Conway and penciler Howard Chaykin to introduce the series "The War of the Worlds" and its central character, Killraven, in Amazing Adventures vol. 2 #18 (May 1973).[39]
Continuing to work for DC Comics during this sojourn, while also contributing the occasional story to Warren Publishing's black-and-white horror-comics magazines (including the Don Glut-scripted "Goddess from the Sea" in Vampirella #1, Sept. 1969), Adams had his first collaboration on Batman with writer Dennis O'Neil.[40] The duo, under the direction of editor Julius Schwartz,[41] would revitalize the character with a series of noteworthy stories reestablishing Batman's dark, brooding nature and taking the books away from the campy look and feel of the 1966-68 ABC TV series.[42] Their first two stories were "The Secret of the Waiting Graves" in Detective Comics #395 (Jan. 1970) and "Paint a Picture of Peril" in issue #397 (March 1970), with a short Batman backup story, written by Mike Friedrich, coming in-between, in Batman #219 (Feb. 1970). Adams introduced new characters to the Batman mythos beginning with Man-Bat co-created with writer Frank Robbins in Detective Comics #400 (June 1970).[43] O'Neil and Adams' creation Ra's al Ghul was introduced in the story "Daughter of the Demon" in Batman #232 (June 1971)[44] and the character would later appear in the 2005 film Batman Begins and be portrayed by actor Liam Neeson. The Joker was revitalized in "The Joker's Five-Way Revenge!" in Batman #251 (Sept. 1973), a landmark story bringing the character back to his roots as a homicidal maniac who murders people on a whim and delights in his mayhem.[45][46]
Batman's enduring makeover was contemporaneous[33] with Adams and O'Neil's celebrated and, for the time, controversial revamping of the longstanding DC characters Green Lantern and Green Arrow.
Rechristening Green Lantern vol. 2 as Green Lantern/Green Arrow with issue #76 (April 1970), O'Neil and Adams teamed these two very different superheroes in a long story arc in which the characters undertook a social-commentary journey across America.[47] A few months earlier, Adams updated Green Arrow's visual appearance by designing a new costume and giving him a distinctive goatee beard for the character in The Brave and the Bold #85 (Aug.-Sept 1969).[48] A major exemplar of what the industry and the public at the time called "relevant comics",[49] the landmark run began with the 23-page story "No Evil Shall Escape My Sight" and continued to " ...And through Him Save a World" in the series' finale, #89 (May 1972).[50] It was during this period that one of the best known O'Neil/Adams stories appeared, in Green Lantern #85-86, when it was revealed that Green Arrow's ward Speedy was addicted to heroin.[51][52] Wrote historian Ron Goulart,
These angry issues deal with racism, overpopulation, pollution, and drug addiction. The drug abuse problem was dramatized in an unusual and unprecedented way by showing Green Arrow's heretofore clean-cut boy companion Speedy turning into a heroin addict. All this endeared DC to the dedicated college readers of the period and won awards for both artist and writer. Sales, however, weren't especially influenced by the praise, and by 1973 the crusading had ceased. I remember dropping in on [editor] Julius Schwartz about this time and asking him how relevance was doing. 'Relevance is dead', he informed me, not too cheerfully.[42]
After Green Lantern was cancelled, the adventures of both super-heroes continued on the pages of The Flash #217-219 and #226 (1972–74)
After Green Lantern/Green Arrow, Adams' contributions to DC, apart from his work on Batman, were sporadic, limiting to draw a Clark Kent back-up story in Superman #254 (1972) and sharing credits with Jim Aparo pencilling the Teen Titans in The Brave and the Bold #102 (1972). Adams also drew a few stories for Weird Western Tales and House of Mystery and covers for Action Comics and Justice League of America as well. Adams worked on the first intercompany superhero crossover Superman vs. the Amazing Spider-Man. Several of the Superman figures were redrawn by him.[53]
The last complete story that Adams drew at DC before opening his own company, Continuity Associates, was the oversize Superman vs. Muhammad Ali (1978) which Adams has called a personal favorite.[54][55] After this, Adams' production for DC and Marvel was mainly limited to new covers for reprint editions of some of his work, such as Green Lantern/Green Arrow, The Avengers: The Kree-Skrull War, X-Men: Visionaries, Deadman Collection and The Saga of Ra's al Ghul, which were variously published as reprint miniseries or trade paperback collections. In 1990, he designed a new costume for DC's Robin character[56] and drew a miniposter included in the first issue of the Robin limited series.[57]
In 2005 Adams returned to Marvel (his last collaboration for this publisher had been in 1981 drawing a story for the Bizarre Adventures magazine) to draw an eight-page story for the Giant-Size X-Men #3.[58] The following year Adams (among other artists) provided art to Young Avengers Special #1.[59]
In 2010, DC Comics announced that Adams would return as writer and artist on the new miniseries Batman: Odyssey.[60] Originally conceived as a 12-issue story, the series ran for six issues,[61][62] being relaunched with vol. 2, #1 in October 2011.[63] A total of seven issues were published for the second series until its end in June 2012.
Apart from those assignments for DC, Adams penciled The New Avengers vol. 2, #16.1 (Nov. 2011) for Marvel Comics.[64]
In May 2012, Marvel announced that Adams would work on the X-Men again with The First X-Men, a five-issue miniseries drawn and plotted by him and written by Christos Gage.[65][66]
Adams' pencil drawings on his later Batman stories were frequently inked by Dick Giordano, with whom Adams formed Continuity Associates, a company that primarily supplied storyboards for motion pictures. In the early 1970s, Adams was the art director, costume designer, as well as the poster/Playbill illustrator for Warp!, a science fiction stage play by director Stuart Gordon and playwright Lenny Kleinfeld under the pseudonym Bury St. Edmund.[67]
In late 2013 Adams appeared in the PBS TV documentary Superheroes: A Never-Ending Battle.[68]
During the 1970s, Adams was politically active in the industry, and attempted to unionize its creative community. His efforts, along with precedents set by Atlas/Seaboard Comics' creator-friendly policies and other factors, helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors. He won his battle in 1987, when Marvel returned original artwork to him and industry legend Jack Kirby, among others.[69][70] Adams notably and vocally helped lead the lobbying efforts that resulted in Superman creators Jerry Siegel and Joe Shuster receiving decades-overdue credit and some financial remuneration from DC.
Inker Bob McLeod recalled in the 2000s the unique place Adams held in the industry when McLeod broke into comics in 1973:
Pat [Broderick] told me I really ought to meet Neal Adams, whom he had met at DC. . . . At that time, Neal held a position of respect in the industry that no one in comics since then has achieved. He was the single most respected artist in the business. . . . Neal looked at one of my samples and asked me what kind of work I was looking for. I said, 'Anything that pays.' (By that time, I was down to my last $10. . . .) He just picked up the phone and called the production manager at Marvel and said, 'I've got a guy here who has some potential as, well, some potential as an artist, but I think he has a lot of potential as a letterer.' I was immediately hired at Marvel in the production department on Neal's recommendation, and they still didn't even want to see my portfolio. If I was good enough for Neal, I was good enough for them.[71]
In 1978, Adams helped form the Comics Creators Guild, which over three dozen comic-book writers and artists joined.[72]
Also during the 1970s, Adams illustrated paperback novels in the Tarzan series for Ballantine Books.[73] With the independent-comic publishing boom of the early 1980s, he began working for Pacific Comics (where he produced the poorly received Skateman) and other publishers, and founded his own Continuity Comics as an off-shoot of Continuity Associates. His comic-book company's characters include Megalith, Bucky O'Hare, Skeleton Warriors, CyberRad, and Ms. Mystic. He and fellow artist Michael Netzer entered into a dispute over intellectual property rights to Ms. Mystic, a character they had worked on jointly in 1977, which Adams had published under the Pacific Comics and Continuity Comics imprints, leading to a lawsuit against Adams in United States District Court in 1993.[74] The case was dismissed in 1997, citing the statute of limitations.[75]
In collaboration with Rafael Medoff, director of the David S. Wyman Institute for Holocaust Studies, Adams has championed an effort to get the Auschwitz-Birkenau State Museum, which is operated by the government of Poland, to return the original artwork of Dina Babbitt. In exchange for his sparing her mother and herself from the gas chambers, Babbitt worked as an illustrator for Nazi death camp doctor Josef Mengele, who wanted detailed paintings to demonstrate his pseudoscientific theories about Gypsy racial inferiority.[76] Using text from Medoff, Adams illustrated a six-page graphic documentary about Babbitt that was inked by Joe Kubert and contains an introduction by Stan Lee.[77] However, Adams deemphasizes any comparison between the Babbitt case and his struggle for creator rights, saying that her situation was "tragic" and "an atrocity."[76]
In 2010, Adams and Medoff teamed with Disney Educational Productions to produce They Spoke Out: American Voices Against the Holocaust, an online educational motion comics series that tells stories of Americans who protested Nazis or helped rescue Jews during the Holocaust. Each standalone episode, which runs from five to ten minutes, utilizes a combination of archival film footage and animatics drawn by Adams (who also narrates), and focus on a different person. The first episode, "La Guardia's War Against Hitler" was screened in April 2010 at a festival sponsored by the Museum of Comic and Cartoon Art, and tells the story of the forceful stand New York City Mayor Fiorello La Guardia took against Nazi Germany. La Guardia's actions stood in contrast to the relative passivity of President Franklin Roosevelt, who historians such as David S. Wyman believe did not do as much as he could have to save European Jewry,[78] a point underlined in the episode "Messenger from Hell". Other episodes include "Voyage of the Doomed", which focuses on the S.S. St. Louis, the ship that carried more than 900 German-Jewish refugees but was turned away by Cuban authorities and later the Roosevelt administration, and "Rescue Over the Mountains", which depicts Varian Fry, the young journalist who led an underground rescue network that smuggled Jewish refugees out of Vichy France.[79][80]
Adams' first Deadman cover won the 1967 Alley Award for Best Cover. A Batman/Deadman team-up in The Brave and the Bold #79 (Sept. 1968), by Adams and writer Bob Haney, tied with another comic for the 1968 Alley Award for Best Full-Length Story; and in 1969, Adams won the Alley Award for Best Pencil Artist, the feature "Deadman" was elected to the Alley Award Hall of Fame, and Adams received a special award "for the new perspective and dynamic vibrance he has brought to the field of comic art".
He also won Shazam Awards in 1970 for Best Individual Story ("No Evil Shall Escape My Sight" in Green Lantern vol. 2, #76, with writer Dennis O'Neil), and Best Pencil Artist (Dramatic Division); and in 1971 for Best Individual Story ("Snowbirds Don't Fly" in Green Lantern vol. 2, #85, with O'Neil).
He won an Inkpot Award in 1976, and was voted the "Favourite Comicbook Artist" at the 1977 and the 1978 Eagle Awards.
In 1985, DC Comics named Adams as one of the honorees in the company's 50th anniversary publication Fifty Who Made DC Great.[81]
Adams was inducted into the Eisner Award's Will Eisner Comic Book Hall of Fame in 1998, and the Harvey Awards' Jack Kirby Hall of Fame in 1999.
Adams believes the Earth is growing[82] through a process called pair production.[83] Adams holds the work of Australian geologist Samuel Warren Carey in high esteem, but considers the term "Expanding Earth" a misnomer.[84][85] While Carey did advocate an expanding Earth in the mid-20th century, his model was rejected following the development of the theory of plate tectonics.[86][87][88] Adams advocates his ideas in a DVD documentary he wrote and produced, clips of which are available on his YouTube channel.[89][90]
Adams appeared on the radio show Coast to Coast AM several times to discuss his claims.[91] He was also interviewed by Steven Novella on a Skeptics Guide podcast in 2006, and afterward continued the debate on Novella's blog.[92] Japan Times columnist Jeff Ogrisseg wrote a three-part feature promoting Adams's ideas,[93][94][95] which was roundly criticized by Novella for being an example of "outright promotion of pseudoscience as if it were news."[96]
Adams and his wife Marilyn[68] live in New York[97] and have three sons, Jason, Joel and Josh Adams.[68] Jason Adams works in toy and fantasy sculpture, while Joel and Josh Adams illustrate comics and do design work on TV shows.[68][98] Josh Adams illustrated a pinup of Batman in the first issue of the 2010 miniseries Batman: Odyssey, which his father wrote and illustrated.[99]
Adams commandeered his first DC work as a penciler/inker with 'It's My Turn to Die' a nine-page back-up tale written by Howard Liss for Our Army at War #182 in July [1967]...The following month, The Adventures of Jerry Lewis #101 perfectly illustrated how Adams was equally adept at delivering the art of laughter. In his first full-length story for DC, he provided writer Arnold Drake's space odyssey 'Jerry the Astro-Nut' with a photo-realistic flare not seen in comics.
Adams took over Jerry's art (and covers) with #101.
Writer Dennis O'Neil revealed that it was not Xavier who had perished but a shape-shifter called the Changeling.... This epic tale provided an appropriately grand finale for the work of legendary artist Neal Adams."
This wild tale...attempted to tie together more than thirty years of the company's stories...More than any previous work, 'The Kree-Skrull War' solidified the idea that every comic book Marvel had ever published was part of an endless, ongoing saga.
Editor Julius Schwartz had decided to darken the character's world to further distance him from the camp environment created by the 1966 ABC show. Bringing in the talented O'Neil as well as the innovative Frank Robbins and showcasing the art of rising star Neal Adams...Schwartz pointed Batman in a new and darker direction, a path the character still continues on to this day.
Arlen Schuer: Do you feel Superman vs. Muhammad Ali is the best comic you ever did?
Neal Adams: I would have to say yes. I've been asked lots of times, but I must admit, even I enjoy reading this book over and over again.
Wikimedia Commons has media related to Neal Adams. |
Preceded by Carmine Infantino | Strange Adventures artist 1967–1969 | Succeeded by none |
Preceded by Bob Brown | The Brave and the Bold artist 1968–1970 | Succeeded by Nick Cardy |
Preceded by Werner Roth | The X-Men artist 1969–1970 | Succeeded by Sal Buscema |
Preceded by Bob Brown | Detective Comics artist 1970–1971 | Succeeded by Bob Brown |
Preceded by Irv Novick | Batman artist 1970–1974 | Succeeded by Irv Novick |
Preceded by Gil Kane | Green Lantern/Green Arrow artist 1970–1972 | Succeeded by Mike Grell (in 1976) |
Preceded by Sal Buscema | The Avengers artist 1971–1972 | Succeeded by John Buscema |


text:
The colours of the logo, the city's first, are meant to represent the colours of the city, including the waterfront and parks.
Ok, so I guess that's the blue and the green covered, no mention of the other colours. I think what we have here is a perfect example of making shit up on the spot.