#mostly for my own reference..

[dreamings-free]

23/4/24 The Music Venue Trust has hit back at Manchester’s Co-Op Live for saying some grassroots venues are “poorly run” – despite having had to delay its own opening this week.

Co-Op Live, which cost £365million, is set to become the UK’s largest indoor arena when it opens, with a capacity of 23,500.

The venue’s executive director Gary Roden spoke to the BBC recently, where he discussed the proposed £1 ticket levy on all gigs arena-sized and above, to help secure the future of grassroots venues and artists.

Roden said that he was “very aware it’s a hot topic”, and that he was “embracing the conversation”, but that he believed the levy was “too simplistic”.

The report suggests that he thinks support should come directly from the government, and added that while he acknowledges the financial pressures on small venues, he thinks some of them are poorly run.

-> full article here at nme.com

Music Venue Trust CEO Mark Davyd on twitter 20/4/24 :

linking to this article:

20/4/24 Bosses of the UK's largest arena have apologised for cancelling tickets to a test show hours before it was due to start.

It comes after organisers at Co-op Live in Manchester said they had to cut capacity for a preview concert by Rick Astley to allow them to test the 23,500-seater venue "effectively".

Those affected have instead been invited to the Black Keys show at the £365m arena next week.

Co-op Live is set to be officially opened by comedian Peter Kay on Tuesday.

-> full article here at bbc.com

and then the day before the official opening night..

22/4/24 Organisers at Manchester’s new Co-Op Live arena have postponed their opening Peter Kay shows.

[..]

A statement from the venue said: “Following our first test event on Saturday, regretfully we have made the difficult decision to reschedule our two opening performances by Peter Kay. It is critical to ensure we have a consistent total power supply to our fully electric sustainable venue, the completion of which is a few days behind.

-> full article here at nme.com

[qtval]

[chickadeethoughts]

reread this post and maybe this is an unpopular mclennon opinion? but i think they both didn't actually understand each other as well as they thought they did. i think both of them believed the other could read their mind and then filtered their subsequent actions as a conscious slight. like. john should know that paul is someone who keeps his feelings very closely guarded, who will always choose to keep the peace and to put on a good face when he's upset. but throughout the breakup, when paul seemingly stays as productive as ever, staying distantly polite to yoko while urging john to keep writing, keep beatling, everything's fine, time to put on a show, john takes it that paul doesn't care one way or another about their partnership dissolving, he's a perfectly capable one-man band hit machine anyway. this is seemingly confirmed by paul announcing the breakup to "sell a record," effectively ending all hope of quietly reconciling and supporting john's theory that paul was done with the beatles (john) anyway and had been on his way out once he learned he could write a #1 song without anyone's (john's) help. all he cares about is hits and money and his new perfect family and farm.

meanwhile. paul should know that john wasn't handling the pressures of the beatles well. he should know that he needed more support. but paul seems to be someone who gets stuck in his ways of thinking about people (see also: george), and doesn't seem to have ever shaken the image of john as the older, cooler teddy boy on the bus who he'd do anything to impress. he thinks the world of john and spends the 60s thinking they're in a friendly competition, not realizing john has started falling into the paranoia that he's losing. you can see it in get back. paul is waiting for john to write his next great song, to set a new bar for paul to push himself to reach. paul got john by impressing him with his music and when he's losing john he doubles down on it because he thinks that's the only valuable thing he has to offer. he might have offered the support john needed instead if he knew what that was, but he didn't. but mid-60s john, who still thinks paul understands him, thinks paul knows he needs him but chooses to spend his time flitting around swinging london instead, which deeply hurts him. john clings to yoko because she's a breath of fresh air from the constant race he's been running for a decade. a creative partner he doesn't have to chase down. someone who needs him as much as he needs her. a woman he can marry, can have a real commitment to. he can be everything to the person who is everything to him. but paul sees this as john finally outgrowing him and finding someone better.

paul also should know that john often speaks first and decides whether he believes what he said later. but it seems he only ever takes john at his word. when john leaves the beatles that's it, no negotiation, because if paul has lost john to someone more interesting, more artistic, then that's that. when john starts to talk publicly about paul's muzak and granny shit that must be true too, it's why john left after all. and granted john just wont stop shit talking him and it's not like he just fell on a keyboard and how do you sleep came out. but this is how you get a paul who starts to see himself as a villain and questions whether john did love him. he doesn't think too many people was that nasty compared to what john was saying about him in interviews because he doesn't realize that one of john's biggest fears is that he's incapable of being a great songwriter without paul. so to john, the lucky break line is paul admitting he agrees with that assessment and twisting the knife. but paul wouldn't see it that way because he's only ever had john on a pedestal.

so by the 70s, on their worst days, john thinks paul is cold marble statue who knows he's better than him and delights in it and paul thinks john is entirely out of love or use for him, if he ever had it in the first place. and of course, they could never talk about any of this openly because neither of them were willing to face the pain of confirming that their love really was one-sided.

[mothcrayon]

to be loved is to be changed or whatevs

[7cfc00]

Cast: Hermie the Unworthy as Theatre Kid with Identity Issues!

[ins0mnina]

Hazel from when i was testing a new brush !

[karfild]

Character profiles via the making of the umbrella academy (S1)

[lucyvaleheart]

Mutual aid post

💖💖💖💖💖💖💖💖💖

So....

...things have been goin not so great lately

I've been putting this off but my bank account went negative a little bit ago, and it's taken me about a week to get around to it.... But I made a gofundme to just kinda..... Try and catch some breathing room, yknow..?

Please do not feel obligated to donate, and don't feel bad for scrolling past, either. Trust me, I get it; and while I do desperately and immensely appreciate anyone who donates or shares this, I wouldn't dream of trying to guilt anyone into anything. Thank you for even reading all this, genuinely; and whatever I do get, I am so, so grateful for each and every one of you. 💖

[rockinmusicquarterly]

compilation of the various nicknames and epithets the voices are given since they don't know each other's "names"

Hero

"heroic one" (the narrator)

"the nice one" (soft sp3ctre)

Contrarian

"the cheeky one" (the hero)

"funny one" (the decider)

"the worst one of us" (the cheated)

Paranoid

"the jumpy one" (the opportunist)

Broken

"the sad one" (the opportunist)

"the worst one" (the opportunist) (mean)

Hunted

"the freak" (the stubborn)

"little one" (the wild)

Cold

"cold little freak" (sharp & soft spectre)

"quiet one" (soft sp3ctre)

Opportunist

"that little weasel" (the narrator)

Stubborn

"stubborn one" (the narrator)

"grumbling voice" (the narrator)

"rage-boy" (the contrarian)

Skeptic

"the gruff one" (the hero)

Cheated

"numbskull" (the Rude skeptic)

Smitten

"the lovesick one" (the paranoid/skeptic)

"lovesick fool" (the paranoid/skeptic)

"mr. romance" (the hero)

[stillthesunkenstars]

Gallifrey One Brax Crumbs from Miles Richardson

Most things are paraphrased! If something is a direct quote I’ll put it in quotation marks. This only what I Heard and remembered so feel free to add on to me in a reblog or another post.

Q&A:

My Q: I felt that the element of ‘performance’ is very present in brax, he performs the role of a villain in the late collection era, he performs to be a symbol in the Deindum war, and he performs masculinity to present as a man in general, how would you connect brax with the element of ‘performance’ in his identity?

MR: I see Brax as someone who is both and in between, someone who is ‘androgynous and asexual’, more fueled by the want of power (for the general greater good) than anything else. He is a pragmatist who sees sex as something that is unnecessary to him, and also very fond of women in the ‘purely honorific’ way. I also tried to play Brax with an ‘air of camp’, and Scott Handcock once described me as the ‘gayest heterosexual’ he’s ever seen.

———

My Q: Are there chances of Brax returning in future BF audios?

MR: Lisa Bowerman told me on David Warner’s Funeral that I can ‘look forward to working with her again soon’ so I hope I can return to the audios. (He also talked about how David Warner suffered severe vertigo in the last few years and was unable to do regular acting, and was grateful for the opportunity that BF had given him to work in audio.)

———

My Q: Which Shakespeare plays do you think Brax would like?

MR: Braxiatel’s favorite Shakespeare plays would be Coriolanus and Titus Andronicus, there’s something really ‘braxiatelian’ about how gory the latter is.

My Q: (follow up from a bit later) Can you elaborate on why you chose these two plays for Brax?

MR: I chose Coriolanus because it's about a man who desired control but is slowly losing it, and Titus ‘because it's a revenge play, and brax can be very vengeful at times.’

———

My Q: Did you know Brax was a professor of Theatre before he moved his collection to KS-159?

MR: I didn’t know!

Scott Handcock: Yeah that’s why we cast you.

MR: I took a post-grad course on teaching Shakespeare!

———

My Q: Justin Richards said he named Brax ‘Irving’ because it was a theatrical name, do you know what did he mean by that?

MR: It must be after Henry Irving, who was a very famous actor in the 1800s.

———

My Q: What are your favorite episodes to have acted in in the Benny series?

MR: Glory Days and Tub full of Cats, the former because I get to do a lot of different Brax voices, and the latter because of how ‘wacky’ it is.

———

Trivia:

When Brax proposed to Romana in Gallifrey 401 MR tried his best to sound ‘sexy and appealing’.

MR thinks a lot of Brax fans draw Brax based of his looks

MR likes the ‘Benny breakfast’ from Denny’s a lot! (I went to Denny’s the next morning and tried it, it’s called ‘Classic Benny Breakfast’ and don’t flame me for it but I think it’s kinda bad 🫢)

Before the con he went to Griffith Observatory with Seán Carlsen

He came to the con wearing formal suits because it would seem more in character for Brax fans

This is personal but I gave him two brax photocards and a Brax Charm, and he says he remembers my artstyle from when Kenny Smith passed two of the same photocards to him after the Gally in 2023! He also said he has those in his office near his laptop 😭😭

Also personal but I showed him my new itabag with Benny photocards and he pointed to the Brax one and went ‘Oh that’s me! I look so handsome in there’ 🥺

[jaderavenarts]

Talking to Teia, Viago, and Illario before the final battle.

Additional/alternate dialogue from transcripts, mostly if Lucanis dies (the conditions are my assumptions based on context clues):

Full Teia and Viago banter:

If Lucanis dies:

Teia : You're tense. Is that a furrow on your troubled brow?

Viago : You like my furrow. Called it the thinking man's dimple.

Teia : Not in public, I don't.

Teia : You're tense.

Viago : What else would you have me be?

Teia : Nothing, Vi. At least you're here.

If Lucanis dies and was in a relationship with Neve:

Teia : Lucanis should be here. We barely got him back and now…

Teia : No Venatori will leave this city alive.

If Neve dies and was in a relationship with Lucanis:

Teia : Lucanis should be here. I wish…

Teia : Have you spoken to Neve? He'd want to know she's all right. I'm not sure she is.

If Lucanis dies and was in a relationship with Rook:

Teia : None fought harder than Neve. I wish…

Teia : Have you spoken to Lucanis? They were so close, and… he's taking it hard.

Illario if Lucanis dies:

Teia : When Lucanis needed light, you were there.

Teia : He should be here now. We'll have our vengeance, Rook. I swear it.

Illario : We've come too far to die now, don't you think?

Illario : Go. Fulfill my cousin's final contract.

Illario : Treviso will have its revenge.

Illario : The First Talon will see it done. He… he never fails, does he?

Illario : Lucanis… I wanted him dead all that time. And now…

Illario : I see only lost time.

Illario : Fighting through a city run by Venatori. It's what Treviso could have been, but worse.

Illario : (Laughs) Was that suitably self-absorbed? Go win again, Rook.

[sukimas]

I made a height chart for the Touhou characters that show up in AoCF based on Hasshaku-sama's height because the one that I have seen hanging around disappeared somewhere. I converted the characters' heights in pixels to cm and inches, and put them all next to each other for a nice comparison.

[binouchetruc]

red cane of somaria or blue cane of byrna?

[eleventhsister]

why are they so hard to draw

[beebeedibapbeediboop]

Hi I absolutely love your art first off, I would just like to know how you manage to make your ocs look the same in EVERY SINGLE FRAME, I just never feel I can never get the resemblance I wanted.

I have to tell a secret.... I trace my own drawings of my own ocs LMFAOOO

[worflesbian]

Shame is the shadow of love