Latest news with #Mumba
Extra.ie
10 hours ago
- Entertainment
- Extra.ie
Samantha Mumba calls for axe of Late Late eurosong special
Pop star Samantha Mumba said the song contest to choose Ireland's Eurovision entry should not be staged on The Late Late Show. The teen 'Gotta Tell You' singer, now 42, yesterday indicated the RTÉ chat show is not the best venue for the Eurosong competition, saying it 'deserves its own [show]' and 'ideally' should be in a venue that is 'set up, even sound-wise, for musicians'. 'Because I don't think [a television studio] is the set-up,' she told the Brendan O'Connor Show yesterday. Samantha Mumba peforming on The Late Late Eurosong Special. Pic: Andres Poveda Mumba said she stands by her criticism of the Eurosong judging panel and was a 'bit surprised' at the amount of coverage her comments got. Mumba criticised the panel − made up of choreographer and Dancing with the Stars judge Arthur Gourounlian, 2FM broadcaster Laura Fox, cook and TV presenter Donal Skehan, and singer Bambie Thug − following The Late Late Show Eurosong Special on February 7, where she came second with My Way. Norwegian singer Emmy won with Laika Party. In an Instagram post in February, Mumba thanked supporters and expressed pride in her performance. In a later post, she said she felt 'strongly' that the judging panel 'were dismissive of all the contestants'. EMMY performs Laika Party at Trinity College Dublin. Pic: The Late Late Show via YouTube Donal Skehan responded that he stood by his role and the feedback he gave on the night, saying his comments were 'never personal'. RTÉ had also said at the time that it was 'extremely grateful' to the Eurosong judging panel for 'their professionalism, their insight, integrity, and good humour'.
Yahoo
20 hours ago
- Entertainment
- Yahoo
How to transfer data from Nintendo Switch to Switch 2
When you buy through links on our articles, Future and its syndication partners may earn a commission. If you've upgraded to the Nintendo Switch 2, you'll probably want to bring over your game saves, user profiles, and digital purchases from your original Switch. Thankfully, Nintendo has made it really straightforward to transfer data between consoles, but there are a few steps you'll need to follow carefully during initial set up, to avoid losing your progress. Nintendo provides a built-in transfer tool that takes the hassle out of starting over. With just a few steps, you can move your entire digital library — from save files to purchased games — directly to your new Switch 2. Your profiles come along too, so you can jump back into your favorite titles without missing a beat. Here's everything you need to know to successfully move your data from Switch to Switch 2. Mumba Blade Series Case: Now that you've got your hands on a Switch 2, keep your hands on it with the ergonomic grip provided by a Blade case from Mumba. The one-piece design is solidly built, protecting your Switch from drops and providing a precise fit for your Joy-Cons. This case is compatible with every kind of Switch, so you can protect your whole line, from the OG to the OLED to the latest and Deal (Image: © Tom's Guide) Once you've followed the previous steps in the Switch 2 set-up process, you'll be asked if you wish to transfer data from your original switch. To do this, select "Start System Transfer" to get things started. It's important to note that if you have a microSD memory card, you can insert it to store data for downloadable software, screenshots, etc. Only microSD Express cards featuring logos labeled "Express" or "EX" are supported. Other SD cards won't work. (Image: © Tom's Guide) Next, you'll have to sign into your Nintendo Account. Using your phone or tablet, scan the QR code that pops up on the screen to sign in. After that, enter the code you see on your mobile device on the Switch 2's display. If successful, your profile (avatar) will appear on the screen. Click OK to confirm your sign-in. (Image: © Tom's Guide) Next, move the Switch 2 and Switch 1 close together to transfer data. You'll have to connect each system's respective AC adapters to start downloading data. Using a different USB-C power delivery method won't work. You have to use the AC adapters that came with both Nintendo consoles. (Image: © Tom's Guide) On your old Switch, click on the gear icon on the main menu. After that, scroll down to System. On the following menu, scroll down to "System Transfer to Nintendo Switch 2" and click on it. This will start the transferring process. This process will vary depending on the amount of data you're transferring, so keep that in mind. (Image: © Tom's Guide) If you've followed all the steps above correctly, you should be all set! Click on OK to finish. After this, you'll see various pages explaining all of the Switch 2's different play modes. You can select your preferred play mode, such as handheld or docked mode. Note that it may take some time for all your games to download and install, so make sure your Switch 2 remains connected to the internet. Now that the Nintendo Switch 2 is rolling out to gamers, we're putting together more guides to help you make the most of Nintendo's latest console. Stay tuned for more tips coming soon!
Irish Independent
a day ago
- Entertainment
- Irish Independent
‘If people can give their opinion on TV, surely I can give my opinion on Instagram' – Samantha Mumba stands by Eurosong comments
She admitted she was a 'bit surprised' that her Instagram post had generated the reaction it did when she hit out at the panel of commentators after the show. Her song My Way was not selected to represent Ireland at the Eurovision in Basel last month. The competition was won by Norwegian singer Emmy (24) and her song Laika Party, which ultimately failed to qualify for the Eurovision grand final last month. The Irish entry ranked in the bottom four contestants in the the semi-final, receiving just 28 points. Mumba generated a social media storm when she criticised the panel – with the exception of previous Eurovision entry Bambie Thug – for not having the 'credentials, experience or professionalism required' to take on the role. She also made some other remarks, including her 'parting gift' to the panel, which was 'a bag of [emoji] to slowly choke on'. The emoji Mumba used was the aubergine icon. Donal Skehan, who was on the panel alongside radio presenter Laura Fox and dancer Arthur Gourounlian, called the comments 'completely unprofessional'. Mumba said in a follow-up post that her comments were 'never about me not winning' and that she felt strongly that the panel were 'dismissive of all the contestants, which was disappointing given the amount of work and passion we all put into our performances'. Speaking to RTÉ Radio One's Brendan O'Connor Show this morning, the singer said it was 'a very, very personal thing' for her to enter the competition and she wanted to step out of her comfort zone. 'So even doing that, and doing a song competition, isn't something that I had on my bingo list at 42 at all." She said it would have been 'ego' to believe she should not have been competing in a contest, adding: 'And it's a song competition, and I wouldn't want to represent Ireland with a song that Ireland didn't want either or do something.' ADVERTISEMENT She said: 'I think fair is fair, and I think if that's the process, then that's what it was. "And honestly, I was just proud of myself for doing it because it definitely wouldn't have been something that I would've been necessarily even thinking I would have the balls to do it, if I'm being totally honest, like, a few years ago. No, I loved the process of all of it." On whether she was surprised about the reaction her post on the process received, she said that 'everybody's entitled to an opinion'. "And I was a bit surprised - that wasn't even the focus. Like, I think I just... What I wrote was just at the end of the post. The focus of the post was actually just thanking everybody on the team who'd worked so hard on it. "I didn't see what the big deal was." She added that she is not on social media very often so was not aware that the post would generate the reaction it did. "But I mean, I certainly stand by what I said. I don't take it back. "I think, you know, fair is fair, if people can give their opinion on national television, surely I'm allowed to give my opinion on my own Instagram page. I think that's fair." The singer also said she believes the Eurosong should be separated from the Late Late Show into a separate programme. "I love the variety of it. I love kind of the process that it's open to everybody," she said. "I think if I had one immediate one, I would think that it should be its own show, and it definitely should be televised in a music venue that is set up for singers."
Tom's Guide
3 days ago
- Entertainment
- Tom's Guide
How to transfer data from Nintendo Switch to Switch 2
If you've upgraded to the Nintendo Switch 2, you'll probably want to bring over your game saves, user profiles, and digital purchases from your original Switch. Thankfully, Nintendo has made it really straightforward to transfer data between consoles, but there are a few steps you'll need to follow carefully during initial set up, to avoid losing your progress. Nintendo provides a built-in transfer tool that takes the hassle out of starting over. With just a few steps, you can move your entire digital library — from save files to purchased games — directly to your new Switch 2. Your profiles come along too, so you can jump back into your favorite titles without missing a beat. Here's everything you need to know to successfully move your data from Switch to Switch 2. Mumba Blade Series Case: Now that you've got your hands on a Switch 2, keep your hands on it with the ergonomic grip provided by a Blade case from Mumba. The one-piece design is solidly built, protecting your Switch from drops and providing a precise fit for your Joy-Cons. This case is compatible with every kind of Switch, so you can protect your whole line, from the OG to the OLED to the latest and greatest. Once you've followed the previous steps in the Switch 2 set-up process, you'll be asked if you wish to transfer data from your original switch. To do this, select "Start System Transfer" to get things started. It's important to note that if you have a microSD memory card, you can insert it to store data for downloadable software, screenshots, etc. Only microSD Express cards featuring logos labeled "Express" or "EX" are supported. Other SD cards won't work. Next, you'll have to sign into your Nintendo Account. Using your phone or tablet, scan the QR code that pops up on the screen to sign in. After that, enter the code you see on your mobile device on the Switch 2's display. If successful, your profile (avatar) will appear on the screen. Click OK to confirm your sign-in. Next, move the Switch 2 and Switch 1 close together to transfer data. You'll have to connect each system's respective AC adapters to start downloading data. Using a different USB-C power delivery method won't work. You have to use the AC adapters that came with both Nintendo consoles. On your old Switch, click on the gear icon on the main menu. After that, scroll down to System. On the following menu, scroll down to "System Transfer to Nintendo Switch 2" and click on it. This will start the transferring process. This process will vary depending on the amount of data you're transferring, so keep that in mind. If you've followed all the steps above correctly, you should be all set! Click on OK to finish. After this, you'll see various pages explaining all of the Switch 2's different play modes. You can select your preferred play mode, such as handheld or docked mode. Note that it may take some time for all your games to download and install, so make sure your Switch 2 remains connected to the internet. Now that the Nintendo Switch 2 is rolling out to gamers, we're putting together more guides to help you make the most of Nintendo's latest console. Stay tuned for more tips coming soon! Get instant access to breaking news, the hottest reviews, great deals and helpful tips.
The Guardian
15-05-2025
- The Guardian
Your chance to stare down a god: inside the British Museum's mesmerising look at Indian religions
It's the eyes that stay with you – piercing black discs that seem to vibrate against the intense orange of a goddess's skin. The rest is a blur of silver, yellow and saffron as temple attendants encourage you to move, clockwise, around the murti, or sacred statue. For a moment it's as if this shrine is the one fixed point in the whole city. The goddess in question is Mumba, the patron of Mumbai, her temple at the beating heart of one of the most densely populated areas on Earth. A few streets to the east is the green and white splendour of Minara mosque. To the north is the intricately carved Jain temple of Parshwanath. All around is the noise and commerce of a place that Indians regard as their version of New York and LA combined – 'the city of dreams'. Yet, far from being a godless metropolis, this is a place where religion is very much a going concern. And, as Sushma Jansari, curator of south Asia at the British Museum in London, explains, it's not surprising that the eyes have it. Making direct eye contact, getting a glimpse (or darshan) of the divine, is the whole point. For devotees, staring down a god isn't sacrilegious, but a source of comfort and connection, and a way to ask for help. Back at the British Museum, Jansari has devised Ancient India: Living Traditions, a mesmerising exhibition that explores the roots of the country's major homegrown religions – Hinduism, Jainism and Buddhism. In it, the carvings and statues are all arranged at a height that allows you to meet them face to face: 'You actually look them in the eye.' The power of these encounters can transcend religious boundaries. 'Whatever your faith,' she says, 'when you see a devotional object, it can really affect you.' We emerge from the shrine in Mumbai into a covered courtyard that contains, among the stalls selling vestments and offerings, a giant conch shell on a pedestal, its base spattered with vermilion pigment. This represents Vishnu, says Jansari, one of Hinduism's three principal deities. But, like so many symbols in India, it's a shared one. In Buddhism, the conch stands for the spread of the Buddha's teachings; in Jainism it's the emblem of one of the revered Tirthankaras or teachers. Once you start to notice these common pieces of iconography, which include the lotus, the snake and the lion, you begin to see them everywhere. That is certainly the case at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, or CSMVS, known until 1998 as the Prince of Wales Museum of Western India. It's an ebullient Edwardian pile in Mumbai's Fort neighbourhood, one of a suite of magnificent buildings that form part of the city's world heritage site. Notable for its Indo-Saracenic style – think the Taj Mahal crossed with London's St Pancras station – it contains hundreds of objects from the dawn of India's early religious history. Two of these are being flown over for the British Museum show, where they will form part of a complex story of influence and assimilation. One reason for the huge overlap between traditions is the environment in which they emerged; the creators of these objects lived incredibly close to nature. In fact, Jansari says, the natural world 'plays the underpinning role. If you think about when [the pieces] were made – from the second and third centuries BCE onwards – the subcontinent is very much an agrarian society. There are some people living in cities, but most people live in the countryside, getting their food and resources from forests and land. For them, nature plays such an outsized role in their everyday lives: if the monsoon rains come, then hooray, they can actually eat. If the rains are too strong and wash away all the crops, they may well starve.' That awesome power is embodied by the figure of the snake, which comes up again and again, representing both the life-giving and destructive aspects of water (they tend to come out when it's wet), and of course, mortal danger. In many of the sculptures they appear as protectors, the same crown of cobras rearing up behind images of the Buddha or Vishnu. And then there are the nature spirits or Yakshas (male) and Yakshis (female). These figures predate the major religions, but 'once you've got those native spirits personified, the artists use that imagery to shape the Jain and Buddhist enlightened teachers and the Hindu gods,' says Jansari. Often tied to trees, some of the earliest Yakshas were more than three metres high. And because they represent capricious nature, 'they're not all lovely, happy, smiling, beatific figures. When you see them, they're kind of grimacing. They're very stern. Imagine walking through the forest and coming across one of these three-metre high figures'. No kidding: at CSMVS the awesome Dvarapala Yaksha guarded one of the Buddhist caves at Pitalkhora. He's a mere 1.6 metres, magnificent in black basalt, his eyes huge, his expression hard to read, but perhaps not entirely benign. Jansari has used the rich British Museum collection, as well as loans from Mumbai, Delhi and elsewhere, to conjure something of this otherworldly atmosphere in London. But when she was first asked by colleagues to put on a show about India, she wasn't sure about the idea. 'As somebody from the south Asian diaspora, I know the normal thing is to do a devotional art exhibition looking at either Jainism or Buddhist art or Hindu art. And I'm not interested in doing something in that very traditional format.' Instead, she was determined 'that these be represented as living traditions', with – and this was crucial – total transparency as to how the objects got there. 'The collecting history strand absolutely had to be not just an add-on, but an integral part of the show.' Why was that so important? 'Nowadays we all want to know how these objects came to be at this museum. Generally speaking, it's presented in quite a binary way: it's either good or it's bad. Whereas actually there is so much more nuance in these stories.' There are carvings from the Buddhist stupa (a dome-shaped shrine) at Amaravati, for example, including an incredible double-sided relief depicting the monument itself. Most of the archaeological material there was destroyed by local workmen in the 18th century, who ground down the limestone to make mortar. East India Company officials then descended, salvaging some material, yes, but also wrecking it further in the process. The pieces they gathered were sent to the company's London HQ, and eventually transferred to Bloomsbury where the British Museum is located. In other words: 'It's complicated.' Jansari also mentions a yaksha donated by a collector who was born in what is now Bangladesh. 'So he had a lot more agency. It's not necessarily this kind of colonial story.' The other thing she insisted on was genuine community involvement. That meant recruiting people from each of the different faiths to discuss those complex collecting histories, and how to treat sacred objects appropriately. As a result of these conversations, the exhibition has avoided any animal products – silk drapes were ditched, and vegan paint used – in accordance with the principle of ahimsa, or non-violence towards all living beings. They also talked about how to respectfully dispose of offerings that devotees might make in the gallery space. 'I don't think it's weird to look on a devotional object that was created for the purpose of veneration, and [see] people having that experience [in the museum].' For Arshna Sanghrajka, a pharmacist and practising Jain from London, being invited to take part was particularly meaningful. 'I was really excited because museums tend to be very arty-farty. You look at things from the past and you admire their splendour and their beauty. And this was quite different, because while, yes, they wanted to do that, they also wanted a connection with the present.' That included recognising that these objects are holy to at least some of the people viewing them. 'Even the way things were being placed, so, for example, not placing an image of a Tirthankara directly on to a plinth. It should be on a slightly raised platform, which is how it would be worshipped in the home or in a temple – even if that block is just one centimetre thick.' What emerged was a model for how the legal owners of objects such as these – the museum's trustees – can effectively widen the definition of whom they belong to. 'The way in which museums are engaging with the public is changing,' says Sanghrajka. 'For an institution which has so much colonial baggage, it's really refreshing to see that they are trying to bring the community back into a sense of moral ownership: like, actually these objects are from your faith, from your community, from your geographical areas. They belong to you just as much as they belong to us. I think that's really special, and I hope that it's not just limited to this exhibition.' Bloomsbury is a long way from Mumbai, but Jansari hopes the bright colours (she is particularly thrilled by the 'hot pink' of the Hindu section), scent of sandalwood and videos made by community members will give a sense of how ancient traditions remain a vivid part of the present, not just in India, but in Britain too. 'A really important thing for me,' she says, 'was to show that this is not all 'foreign stuff' – this is now part of our shared cultural heritage. Here in the UK, we have people from all over the world who practise these faiths, we have these stunning, traditionally built temples and religious buildings. And it's the same with these sacred, devotional images. They've been taken around the world for millennia, and now they've arrived here.' She pauses. 'This idea of moving around, being influenced and influencing others in turn, it's not a weird, modern concept. We've always been doing this. That's what I want people to take away.' Ancient India: Living Traditions is at the British Museum, London, from 22 May to 19 October
