#av study

[hazbinsponsoredbyvee]

I have to ask

Are you open to a hot take on your content? I just came across your page today and I was surprised to see your take on radiostatic. Or maybe you can answer as Al or Vox. First off let me say I am a biological straight male and I’m aware I grew up in another land than what I’ve seen people in fandom create for themselves. I haven’t even met another straight guy yet who likes Hazbin Hotel and certainly not gonna meet any who ship Al and Vox. I secretly love them together and I think I know why but I wanted to say this.

I don’t see why Alastor is a top in this ship?

When I first saw Alastor on screen it was like my whole world stopped for a moment and I realized if he were gay and if I were gay I’d want to fuck him. I’m not saying im questioning if im gay at all I just think if I were gay I’d want to but I would never bottom and so that’s my reasoning for Top Vox and Bottom Alastor. He’s just really feminine and Vox isn’t at all.

I’d like to know your take on it since it seems to matter on this blog who tops/bottoms.

Oooh, I love character studies!

Ok, so starting off, since you explained the background you're coming from, I'll do the same - I am an asexual/biromantic cis female. Also, I wouldn't necessarily say that who tops/bottoms matters on this blog, but people keep asking, so I've had to give some kind of response.

ANYWAY. I'll start with Vox. I see him as a switch who mostly bottoms. From my understanding, not being gay or a man or that interested in sex, who bottoms doesn't necessarily have anything to do with who's more feminine. And my first impression of Vox was that he was a bottom. He just strikes me as the type who takes charge in every other area of his existence, so he wants a break from that in bed. And while I know top/bottom doesn't necessarily equal dom/sub, that's just the energy I feel he gives off. Everything from the types of men he goes after to the way he kind of seems to be a bit of a glutton for punishment just screams to me that he wants to be fucked. However, I can also see him bringing that 'taking control of the boardroom' energy into the bedroom, hence why I headcanon him as a switch.

Now Alastor. I definitely feel like he's on the side of the asexual spectrum that has basically no interest in sex (and very possibly sex-repulsed, but I choose to headcanon him differently). But we know he loves violence. So, I feel like the only way he would be at all interested in sex if it's a power play to dominate over and hurt the other person. With Vox in particular, I think that what would appeal to Alastor is his once-rival, a powerful Overlord, willingly surrendering to him completely and giving him control over what he feels - proving his devotion to him. And I feel like Alastor would get off more on the power and bloodshed than the sex itself. Also, I think he's too controlling with too many trust issues to put himself in the vulnerable position of being fucked.

None of this is to say that you can't think differently, of course! This is just my own interpretation.

[comphyjost]

i’m sorry but why did you just call nazem kadri “the main suspect” in the waterbottle incident, paul??????

[ave-studios]

Aline van Enckevort - Harvest mini cards

July 2024

[avenue-inspiration]

Hello 👋 there I hope you're very good, yesterday don't feel motivation then I'm did question what I did to feel motivation when study a languages?? Read this...👇🏽👇🏽👇🏽👇🏽👇🏽👇🏽

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Motivation: If you learning a languages or many languages maybe this I hope that help you:

1.- Search an apps to easy to learn languages

2.- Create a blog in practice the language that is your learning.

3.- Create habit and routine, example practice early your brain feel better the activities

4.- Set short, easy-to-achieve goals, if you have success in your learning, because many search success but don't try all the best!!

5.- Always enyoi your process the results is step by step!!!

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Done. Have a nice day!!

Follow me THREADS e IG: av_inspiration7

TikTok: av_inspiration7

Follow me here ✋🏽☮️✌🏼 good luck!!!

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[whirlybirdwhat]

i REALLY should be studying but i need to make more destiny aus of stuff i like. how fucked would it be if ace came back as a guardian bur obv. as we have seen w/ crow. he ain't ace anymore. wouldn't that be so fun like look luffy! here's your brother! atually sike its your brothers body w/ a new soul made of a giant orbs light. have fun! amnesia brother take two except LMAO. HE AINT THAT GUY ANYMORE. SORRY

[thrill-kill-kult]

“I need a man with tits on my fucking body”

Listen to Incubus by The Electric Hellfire Club

[ultrabananapudding]

I PASSED THE CARDIOLOGY COLLOQUIUM ON MY SECOND ATTEMPT 😭😭🎊🎊

[opera-ghosts]

Frances Alda sings Ave Maria - vitaphone film 1928

Fanny Jane Davis, who rose to international prominence under the stage name Frances Alda, was one of the first of a long line of New Zealand opera singers to achieve such fame. She came from a strong musical background: her maternal grandparents, Fanny and Martin Simonsen, were important opera impresarios in Australasia during the 1870s and 1880s. Five of their children, including Fanny's mother, Leonore, were professional singers, and one, Frances Saville, achieved European fame as a member of the Vienna Hofoper. Fanny's father, David Davis, a merchant, was a gifted amateur musician and some of her paternal relatives sang in J. C. Williamson's light opera companies. Such an inheritance almost predestined her for a career on the musical stage.

After Fanny Davis was born in Christchurch on 31 May 1879 David Davis objected to his wife resuming her professional career, and the couple divorced in September 1880. Thereafter, Fanny and her older brother alternately lived with relatives or accompanied their mother on tour. When Leonore Davis died in San Francisco on 29 December 1884, shortly after marrying Herman Adler, her two children finally found a stable home with their Simonsen grandparents in Melbourne.

Fanny Davis's musical gifts were apparent early. She studied both piano and violin, but her greatest enthusiasm was for singing. Although she later took lessons from the distinguished Australian tenor Armes Beaumont, much of her technical and interpretive knowledge came from listening to her beloved grandmother teach. She seems to have found her grandfather a forbidding figure. Her grandmother's untimely death in 1896 precipitated Fanny's decision to leave home and earn her own living. In March 1897 Melbourne periodicals reported her engagement by the J. C. Williamson organisation; she was billed as 'Francie Adler'.

Her professional début, in the Adelaide production of the musical extravaganza Matsa, was followed by a small role in the Australian première of the hit musical The gay Parisienne. Subsequently she appeared in pantomime, sang in productions of Gilbert and Sullivan and other light operas, and performed with the Harry Rickards variety company at Sydney's Tivoli Theatre. In August 1901 she left Australia to pursue her vocal ambitions in Europe. At this time she amended her first names from Fanny Jane to the more elegant Frances Jeanne. She also began to falsify her age, shedding four years to create the persistent fiction that she had been born in 1883.

In Paris she became a pupil of Mathilde Marchesi, who gave her the stage name 'Alda' and arranged her successful European début, at the Opéra-Comique on 15 April 1904, in the title role in Massenet's Manon. For the next three seasons she gained experience as a leading soprano at the Théâtre royale de la Monnaie, Brussels. Her career also gathered momentum elsewhere, with operatic débuts at London's Covent Garden (1906), Parma (1907), La Scala, Milan (1908), and Warsaw (1908), as well as numerous concert engagements.

On 7 December 1908 Alda made her début at the Metropolitan Opera, New York, singing Gilda in Verdi's Rigoletto. The 'Met' was home to the world's most star-studded opera company. Alda spent 22 seasons there from 1908 until her retirement from the operatic stage on 28 December 1929. During this period she gave 281 performances at the Met itself and a further 88 while touring with the company. Critics considered the finest of her 26 roles to be Mimi in Puccini's La Bohème. She sang it 80 times – a company record – partnering all the leading tenors of her era from Caruso to Gigli. Other successes included the title role in Puccini's Manon Lescaut, Nannetta in Verdi's Falstaff and Desdemona in his Otello, Margherita in Boito's Mefistofele, Marguerite in Gounod's Faust and Lady Harriet in Flotow's Martha. She also participated in the premières of several short-lived American operas.

Between Met seasons, Alda undertook extensive recital tours throughout America, and performed several times at South American opera houses. She made her gramophone début in 1910, eventually recording more than 120 titles for the Victor Talking Machine Company. These included two New Zealand items, 'Waiata Māori' and 'Hine e hine'. After retiring from the stage she took part in a pioneering series of radio productions of Puccini operas and made three short musical films. Her autobiography, Men, women and tenors, was published in 1937. Notable for its candour and writing style, the book contains much good advice for young singers. It also makes clear Alda's allegiance to New Zealand.

Although she spent very little time in the country of her birth, Alda consistently described herself as a New Zealander. After revisiting the country during an Australasian recital tour in 1927, her adherence became wholehearted. She maintained contact with several paternal relatives, and despite the precautionary acquisition of American citizenship in 1939 continued to emphasise her New Zealand origins and identify strongly with the country and its people.

Alda's decorous stage presence contrasted with her tempestuous private life. Bluntly outspoken and acutely sensitive to slights, yet impulsively generous and with a robust sense of fun, she made enemies and friends in equal proportion. She was an advocate of women's rights in the music profession, and never hesitated to resort to law on her own behalf. For much of her career she was handicapped by her marriage, at New York, on 3 April 1910, to the Met's general manager, Giulio Gatti-Casazza. His need to avoid any hint of favouritism restricted her opportunities, while she felt a continual need to prove her artistic worth – as much to herself as the public. She divorced him in 1928; they had no children. On 14 April 1941, at Charleston, South Carolina, she married New York advertising executive Ray Vir Den. Alda spent an affluent retirement, entertaining lavishly at her Long Island home and indulging in her passion for travel. She died of cerebral haemorrhage in Venice on 18 September 1952.

[silverdune]

ma français n'est pas complètement terrible mais ce n'est pas bonne non plus 😭

[corntort]

Its like shared custody except indra has most of the custody by nature of arm and host stuff so they have to put up with each other

But also consider Hammond and indra used to kiss (and/or have a connection pre-av2's events that eventually fizzled out)

NODS NODS FOR SURE. also i am considering this heavily

[cursedthing]

.havign lots of thoughts about how npcs are portrayed learning about the nature of their universe in works

[tearinducingafternoons]

Finished this book last night and I did not expect to feel so touched by it. Such a great read, from the excerpts in the beginning of each chapter to the nautical themes throughout the story. The Fairy King will forever roam my mind.

[fennopunk]

Good to know that my visual design skills are deep-rooted enough that even unmedicated and with mild migraine I was able to make a passable image for Instagram announcement. Not one I'm exactly happy with, but it'll do the job.

To be clear, I am so not making a habit out of this, it's just good to know that I CAN. Plus, if it had been an actual work thing I would've said I can't do it, but it was a hobby stuff so the quality didn't need to be as high.

[calemakarist]

I feel faint.

[heartfledged]

YOUR CHARACTER ARC.

redemption arc.  your story had a pretty rough start and you did some things you're not proud of, but you made the choice to change. i won't go through how important it is to accept responsibility and keep striving to improve or whatever because you know that already. what i think you should know is that your fuel does not need to be shame. you don’t need to stand over the bathroom sink with your blood in your hands until you can no longer make out your reflection. you will look at your face and you will see the person you used to be, but that person no longer exists. today, you are looking, and that makes all the difference.

[yhebrew]

FORTY DAYS left TO REPENT IN 2024

SEPTEMBER 30 TO OCTOBER 12, 2024 (30 AV to 10 Tishrei = 40 Days) September 2, 2024 LABOR DAY – 29 AV, Monday We are to rest from our labors. I did rest by starting this article. I did not attend any of the Labor Weekend events except my Sabbath Torah Study covering the Parshah R’eh meaning, See / OBSERVE / BEHOLD. Observing ‘The Hand of God’ is what I will be focusing on in my articles over…