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applysome · 2 months ago

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I’ve now been lucky enough to see Miles Kane with my own eyes (and ears) twice in two days and have been able to form more coherent thoughts (though this will still be a massive ramble!). Long post warning split up by sections so you can skim to whatever interests you!

For ease:

N1 = Night One Thursday

N2= Night Two Friday

Note: all of the below are my observations, perceptions, and speculations, I could very well be wrong about some or all things.

Crowd

Both nights I arrived fifteen minutes before Miles was due on. N1 the crowd was sparse, apart from the venue floor there were large tiered steps and a balcony, and everyone seemed to be spread out. N2 was much busier, the floor, tiered steps and balcony were all packed out. I suspect this may be to do with the Thursday / Friday and 8pm / 9pm effect. Both nights I got myself three rows back from the barrier, stage left (N2 took a little more manouvering!).

The crowd on both nights was a good mix of teenagers/early twenties, people my age (thirties) and men in their fifties. Most of the older men were back on the tiered steps and from previous experience at shows, aren’t as vocal as the younger fans (I’ve observed this over the years watching Maximo Park, I’d recommend checking their music out if you haven’t already!).

N1 Miles takes to the stage greeted by a few cheers and applause and starts to play. Not much singing along or dancing on my side apart from a few of us. Muted cheers at the end of the song. A few songs in and I’m disappointed by the crowd’s reaction; although Miles is giving his all, I feel like I can see a little disappointment on his face too. This is his homecoming show, everyone here should be really up for it. A few people on the barrier in front of me talk to each other frequently right in his eye line. It takes about two thirds of the set list for the crowd to properly warm up and bringing out Dave McCabe from The Zutons gets the loudest reaction and sing along of the night. I tried to be as responsive and loud as I could but I’m only one person.

N2 Miles takes to the stage greeted with thunderous applause, cheers, screaming, the full works. Thirty seconds in he already looks much happier than he did on N1. At several points between songs when Miles stops to catch his breath the crowd is so loud all he can do is stand there and take it in. He was visibly emotional at several points throughout at the crowd’s reaction and a few spontaneous chants of “Miles Fucking Kane” really put a smile on his face. Much more singing, especially in the call and response parts of his songs. Definitely the homecoming show he deserved.

Also noteworthy, I didn’t see anyone from N1 on N2. Although a small sample size of where I was stood in the crowd, I expected a few people would go to both shows. Perhaps there were some people more central or on the steps/balcony.

Appearance and Performance

We all love Miles primarily for his talent but let’s be honest, the man is also stunning. But I wasn’t prepared for how attractive he would be in real life up close. It was a little distracting at times on N1 😅. By N2 I was more prepared! Miles looked great as always and certainly knows how to work those boots. As someone who can’t wear heels at all I must admit I’m a little envious!

N1 his moves were still there and he was giving his all as always, but N2 he really went for it, obviously spurred on by the crowd’s reaction. Cardio is sometimes overlooked I think but is so important for singers, especially ones who dance or are very active on stage. Again from experience watching Muse a lot over the years, I could tell when Matt Bellamy had let his cardio slip, struggling to hold notes for as long, singing more in chest voice than belting and so on. Miles had none of these issues which is impressive given his asthma and being a heavy smoker. Obviously the boxing is working!

Performance wise, I have high expectations and can be quite critical because a lot of my favourites (again - Muse, Maximo Park) are spot on live. Across both nights there weren’t any vocal issues, missed notes, absolutely nothing. Just pure passion, excitement, dedication, determination, even when the crowd wasn’t as vocal on N1. Flawless, faultless performances.

Setlist

The set list was the exact same across both nights which I was a bit surprised at, even down to Dave McCabe with Miles on bass and the support act Ellis Murphy playing harmonica in Come Closer which was a nice addition. I wondered if the choice to keep the set list the same will be something going forward for the rest of the tour or if it was just so everyone in Liverpool had the same experience. Regardless it was a good mix of songs with Come Closer, Coup de Grace, Cry on My Guitar and Inhaler getting the biggest reactions of the night.

It was great to hear Shavambacu live though I don’t think everyone gave it the appreciation it deserved! As others have shared, the set list choice of Shavambacu - See Ya When I See Ya - Colour of the Trap was… a choice. Also nice to hear Counting Down the Days which is such a platonic song… Might have been nice to hear My Fantasy or Kingcrawler one night instead but overall no complaints! Forever holding out hope he will play Ransom or Wrong Side of Life!

Other Notable Moments

During Never Taking Me Alive on N2, Miles seemed particularly amped up proclaiming “From day one Liverpool, been doing things my own fucking way”. Maybe he’s here amongst us following yesterday’s discussion (see my previous post) 🤣 but in all seriousness it was amazing to see Miles happy, rocking the stage and getting the reception he deserves, being unashamedly himself with his heels, leopard print amps and turtle plushie.

During Come Closer on N2, someone threw a turtle plushie onto the stage and Miles proceeded to balance it on his head for the last call and response of the song, quite impressive whilst singing animatedly!

Miles on bass during You Will You Won’t on both nights was really quite something (petition for more of this please) and I could tell he was genuinely excited to be playing with Dave McCabe.

One of the teenage girls in front of me excitedly proclaimed to her friends a few times that Miles had looked at her. Well we all know really he was actually looking over her head at me 🤣 a tiny part of my delusional brain feels like he saw me both nights and “recognised” me on N2, as I was wearing the same jacket in the same spot. But really I think this is just the Miles Kane effect; his ability to connect with the audience on a personal level, making you feel like he’s playing just for you even in a room of hundreds of people.

At the end of N2, Miles lingered on stage for longer and jumped down into the crowd for handshakes and hugs (sadly not on my side!) and generally soaked up the overwhelming response from the crowd which was truly deserved.

Overall Thoughts

If you’ve made it this far you’re a trooper! Be rewarded by my very poor quality photographs (I am short and there were a lot of heads in the way!)

Miles is a born performer who gave everything he had both nights, even when the crowd wasn’t as receptive on N1. I’ve been to a lot of shows in the last twenty years and these are genuinely some of the best I’ve seen. You can just tell how much he loves music, performing and being on stage, I had a huge smile on my face throughout both shows. I know this isn’t always the case as some artists become tired or jaded and see it as “just a job”.

Best of all, I didn’t hear anyone so much as mention TLSP or anyone affiliated with them anywhere around me. Everything on both nights, but particularly N2 was about Miles Fucking Kane, as it should be.

I’m so grateful I got to see him live at all, let alone twice for his homecoming shows and I’m so happy Miles got the overwhelmingly positive reaction he deserves on N2. As a new fan (April 2024) I just hope he continues to gain momentum and grow in popularity from here.

Hopefully for Miles, The Best is Yet to Come.

#very self indulgent post #but a good way to document my experiences #if anyone wants any specific detail or has questions let me know #tldr miles is amazing #miles kane #one man band tour #omb winter tour #my show #self post

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suethesocks · 11 months ago

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In honor of black history month i wanted to do this tribute, every character on here is voiced by a black voice actor!!

From left to right theyre Cree Summers (this is a reboot character for those curious), Dave Fennoy, Bumper Robinson, Michael Dorn, Zeno Robinson, Kharry Payton, Kimberly Brooks, and Kevin Michael Richardson

Cree summers also voiced frightwig but i wanted to include captain mccabe as the reboots one contribution to this drawing, plus frightwig is most likely white so it was better to use an already black character

KMR is most well known for voicing emperor Milleous, but i felt itd be better to include one of his minor roles, Kwarrel, as opposed to drawing the evil facist dictator man doing the raised fist salute

#art #digital art #fanart #ben 10 #ben 10 fanart

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the-garbanzo-annex-jr · 10 months ago

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by Dave Huber

Cops cite ‘freedom of speech’

An Israeli physics professor’s lecture at the University of Nevada Las Vegas was interrupted by anti-Israel protesters late last month, but campus cops refused to remove them — citing the First Amendment.

This led Professor Asaf Peer, who was discussing the topic of black holes, to ask “What about my freedom of speech?”

According to The Jerusalem Post, Peer was but a mere quarter-hour into his lecture when the shouting protesters (pictured) “burst into the room […] with banners and flags.”

Protesters’ placards commemorated Islamic University of Gaza physicist Sufyan Tayeh (killed in a December Israeli airstrike) and accused Peer of getting his physics degree in “illegally occupied” territory via the 1948 Nakba.

In an edited video of the incident (below), a protester accuses Peer of “spreading violent rhetoric” on his Facebook account, and tells his students they should “all be ashamed of themselves.”

An Instagram statement by the UNLV chapter of Nevadans for Palestinian Liberation calls Peer an “anti Palestinian [sic] academic with extremist views” and a “genocide apologist.”

Peer, from Israel’s Bar-Ilan University, actually invited the activists to remain to learn about black holes and then discuss “unrelated issues” after his lecture.

But the demonstrators continued their antics, leading to the UNLV police to be called in. (No word if Peer’s lecture topic was an issue for the protesters.)

MORE: Israeli scholar to Notre Dame audience: Hamas ‘not morally equivalent’ to the IDF

The police had a discussion with the lecture’s organizer and ultimately decided to end Peer’s talk and escort him off campus for his “safety.”

Nevada Current reports UNLV Director of Public Affairs Francis McCabe said Peer’s lecture was an “open lecture as part of a public physics symposium.”

But according to the UNLV Policy on Speech and Advocacy in Public Areas, it doesn’t appear anyone can just shut down academic lectures:

[Free speech] activities must not, however, unreasonably interfere with the right of the University to conduct its affairs in an orderly manner and to maintain its property, nor may they interfere with the University’s obligation to protect rights of all to teach, study, and fully exchange ideas. Physical force, the threat of force, or other coercive actions used to subject anyone to a speech of any kind is expressly forbidden.

Members of the UNLV Jewish Faculty and Student Group and the local Anti-Defamation League pointed out free speech doesn’t mean “interruptions of academic opportunities,” and that targeting Peer due of his national origin is “unacceptable.”

UNLV President Keith Whitfield said in a statement the university is investigating the matter “to help determine how [it] can better handle such situations in the future.”

#university of nevada las vegas #professor asaf peer #unlv #bar ilan university

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the-forest-library · 9 months ago

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March 2024 Reads

The Mystery Guest - Nita Prose

A Love Song for Ricki Wilde - Tia Williams

This is How You Fall in Love - Anika Hussain

The Getaway List - Emma Lord

Cancelled - Farrah Penn

Friends Don't Fall in Love - Erin Hahn

The Someday Daughter - Ellen O'Clover

We Got the Beat - Jenna Miller

This Day Changes Everything - Edward Underhill

A Tale of Two Princes - Eric Geron

Once a Queen - Sarah Arthur

The Magicians of Caprona - Dianna Wynne Jones

The Wicker King - K. Antrum

The Eyes and the Impossible - Dave Eggers

A First Time for Everything - Dan Santat

60 Songs That Explain the 90s - Rob Harvilla

Welcome to the O.C. - Alan Sepinwall

Mother Hunger - Kelly McDaniel

All in Her Head - Elizabeth Come

How to Be the Love You Seek - Nicole LaPera

Your Pocket Therapist - Annie Zimmerman

And How Does That Make You Feel? - Joshua Fletcher

How to ADHD - Jessica McCabe

This Book May Save Your Life - Karan Rajan

Women Food and Hormones - Sara Gottfried

Practical Optimism - Sue Varma

Languishing - Corey Keyes

Private Equity - Carrie Sun

The World Deserves My Children - Natasha Leggero

Big Bites - Kat Ashmore

Bold = Highly Recommend Italics = Worth It Crossed out = Nope

Thoughts:

The Eyes and the Impossible was, by far, the standout of the month. Told from the point of view of Johannes, a free dog living in an urban park (a thinly veiled Golden Gate Park in San Fransisco), who keeps the other animals in the park updated on the ongoings in the park. Featuring birds, and woodland creatures, and bison, and goats, and humans who change everything.

Dave Eggers wrote one of my all-time favorite books, A Heartbreaking Work of Staggering Genius, and I have avoided reading any of his subsequent works for fear that they would be disappointing. I took a chance on this one since it's middle grade and quite a departure from his other works, and I'm so glad I did.

Goodreads Goal: 108/200

2022 Reads | 2023 Reads | 2024 Reads

#2024 reads #book reviews #book recommendations #books #booklr #reading #bookish #bibliophile #tflo

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identity-library · 9 months ago

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Diverse Sexuality (TV Shows)

Agents of S.H.I.E.L.D. (2013)

José "Joey" Gutierrez (Gay)

Marcus Benson (Gay)

All Saints (1998)

Charlotte Beaumont (Bisexual)

American Dad (2005)

Greg (Gay)

Terry (Gay)

Andor (2022)

Cinta Kaz (Unspecified WLW)

Vel Sartha (Unspecified WLW)

Arthur (1996)

Nigel Ratburn (Gay)

Patrick (Gay)

Battlestar Galactica (2004)

Felix Gaeta (Bisexual)

Big Mouth (2017)

Ali (Pansexual)

Charles Lu (Unspecified MLM)

Connie LaCienega (Pansexual)

Elijah (Asexual)

Jayzarian "Jay" Bilzerian (Bisexual)

Jessica "Jessi" Glaser (Bisexual)

Matthew MacDell (Gay)

Maury Beverly (Pansexual)

Megan (Bisexual)

Mona (Bisexual)

Nadja El-Khoury (Lesbian)

Shannon Glaser (Lesbian)

Simon Sex (Bisexual)

Sonya Poinsettia (Bisexual)

Tyler Pico (Pansexual)

Bob's Burgers (2011)

Natalie "Nat" Kinkle (Unspecified WLW)

Brooklyn Nine-Nine (2013)

Jenny Gildenhorn (Bisexual)

Jocelyn Price (Lesbian)

Kevin Cozner (Gay)

Raymond "Ray" Holt (Gay)

Rosalita "Rosa" Diaz (Bisexual)

Chicago Fire (2012)

Clarice Carthage (Bisexual)

Darren Ritter (Gay)

Emily Foster (Bisexual)

Leslie Shay (Lesbian)

Chicago Med (2015)

Lawrence Dayle (Unspecified MLM)

Peter Kalmick (Unspecified MLM)

Terry McNeal (Gay)

Code Black (2015)

Carla Niven (Lesbian)

Malaya Pineda (Lesbian)

Noa Kean (Bisexual)

Community (2009)

Craig Pelton (Unlabeled MLM)

Frankie Dart (Unspecified WLW)

Craig of the Creek (2018)

Alexis (Pansexual)

Courtney (Lesbian)

George (Gay)

Jasmine Williams (Lesbian)

Kelsey Pokoly (Lesbian)

Laura Mercer (Lesbian)

Raj (Gay)

Secret Keeper (Gay)

Shawn (Gay)

Stacks (Lesbian)

Tabitha (Lesbian)

Dead End: Paranormal Park (2022)

Barney Guttman (Gay)

Logan Nguyen (Gay)

Norma Khan (Bisexual)

Zagan (Pansexual)

Doom Patrol (2019)

Kay Challis/Crazy Jane (Lesbian)

Larry Trainor (Gay)

Dr. Who (2005)

Adric (Pansexual)

Bill Potts (Lesbian)

Canton Everett Delaware ||| (Gay)

Chris Cwej (Bisexual)

Clara Oswald (Bisexual)

Elizabeth "Liz" Shaw (Bisexual)

Heather (Lesbian)

Jack Harkness (Omnisexual + Polyamorous)

Jennifer "Jenny Flint" Scarrity (Lesbian)

Madame Vastra (Lesbian)

Melony "River Song" Pond (Bisexual + Polyamorous)

Nyssa of Traken (Bisexual)

Oliver Harper (Gay)

Olivia "Liv" Chenka (Bisexual)

Patricia Haggard (Lesbian)

Rogue (Gay)

Tania Bell (Lesbian)

Tegan Jovanka (Bisexual)

Toshiko Sato (Bisexual)

Yasmin Khan (Queer)

Equestria Girls (2017)

Sunset Shimmer (Bisexual)

ER (1994)

Courtney Brown (Lesbian)

Kerry Weaver (Lesbian)

Kim Legaspi (Lesbian)

Maggie Doyle (Lesbian)

Sandy Lopez (Lesbian)

Euphoria (2019)

Cal Jacobs (Bisexual)

Elliot (Unlabeled MLM)

Jules Vaughn (Unlabeled WLW)

Nate Jacobs (Unspecified MLM)

Rue Bennett (Lesbian)

Ever After High (2013)

Apple White (Unspecified WLW)

Darling Charming (Unspecified WLW)

Glee (2009)

Adam Crawford (Gay)

Alistair (Unspecified MLM)

Blaine Anderson (Gay)

Brittany Pierce (Bisexual)

Dani (Lesbian)

David "Dave" Karofsky (Gay)

Elliott Gilbert (Gay)

Hiram Barry (Gay)

Kurt Hummel (Gay)

Leroy Barry (Gay)

Santana Lopez (Lesbian)

Sebastian Smythe (Bisexual)

Spencer Porter (Gay)

Grey's Anatomy (2005)

Amelia Shepherd (Bisexual)

Arizona Robbins (Lesbian)

Callie Torres (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eliza Minnick (Lesbian)

Erica Hahn (Lesbian)

Levi Schmitt (Gay)

Mika Yasuda (Bisexual)

Nico Kim (Gay)

Taryn Helm (Lesbian)

Teddy Altman (Bisexual)

Harley Quinn (2019)

Basil Karlo/Clayface (Gay)

Edward Nygma/The Riddler (Gay)

Frank (Asexual)

Harleen Quinzel/Harley Quinn (Bisexual)

Leslie Wills/Livewire (Lesbian)

Mari McCabe/Vixen (Bisexual)

Pamela Isley/Poison Ivy (Bisexual)

Selina Kyle/Catwoman (Unspecified WLW)

Sylvester "Sy" Borgman (Bisexual)

Hazbin Hotel (2024)

Alastor (Aromantic, Asexual)

Angel Dust (Gay)

Charlotte "Charlie" Morningstar (Lesbian)

Cherri Bomb (Bisexual)

Husker (Pansexual)

Sir Pentious (Bisexual)

Vaggie (Unspecified WLW)

Valentino (Pansexual)

Vox (Bisexual)

Heartbreak High (2022)

Darren Rivers (Gay, Queer)

Donald "Ca$h" Piggott (Asexual)

Dustin Reid (Unspecified MLM)

Malakai Mitchell (Bisexual)

Missy Beckett (Bisexual)

Quinni Gallagher-Jones (Lesbian)

Rowan Callaghan (Bisexual)

Sasha So (Lesbian)

Heartstopper (2022)

Ben Hope (Unspecified MLM)

Charles "Charlie" Spring (Gay)

Darcy Olsson (Lesbian)

Isaac Henderson (Asexual, Aromantic)

Nick Nelson (Bisexual)

Tara Jones (Lesbian)

How I Met Your Mother (2005)

James Stinson (Gay)

Human Resources (2022)

Claudia (Lesbian)

Danielle (Lesbian)

Flanny O'Lympic (Bisexual)

Van (Lesbian)

Miraculous: Tales of Ladybug & Cat Noir (2015)

Alix Kubdel (Aromantic)

Caline Bustier (Unspecified WLW)

Gisèle (Unspecified WLW)

Juleka Couffaine (Unspecified WLW)

Marc Anciel (Unspecified MLM)

Max Kanté (Asexual)

Nathaniel Kurtzberg (Unspecified MLM)

Rose Lavillant (Unspecified WLW)

Zoé Lee (Unspecified WLW)

Modern Family (2009)

Cameron Tucker (Gay)

Gil Thorpe (Gay)

Mitchell Pritchett (Gay)

Pepper Saltzman (Gay)

Ronaldo (Unspecified MLM)

Mom (2013)

Bonnie Plunkett (Bisexual)

Ray Stabler (Gay)

Rudy (Bisexual)

Nanbaka (2016)

Jyugo (Bisexual)

New Amsterdam (2018)

Elizabeth Wilder (Bisexual)

Iggy Frome (Gay)

Lauren Bloom (Bisexual)

Leyla Shinwari (Lesbian)

Martin McIntyre (Gay)

New Girl (2011)

Melissa (Unspecified WLW)

Reagan Lucas (Bisexual)

Sadie (Lesbian)

Peacemaker (2022)

Christopher Smith/Peacemaker (Bisexual)

Leota Adebayo (Lesbian)

Private Practice (2007)

Amelia Shepherd (Bisexual)

Raising Dion (2019)

Kat Neese (Lesbian)

Roswell, New Mexico (2019)

Alex Manes (Gay)

Allie Meyers (Unspecified WLW)

Anatsa Mufaro (Unspecified WLW)

Blaire (Unspecified WLW)

Forrest (Gay)

Isobel Evans-Bracken (Bisexual)

Michael Guerin (Bisexual)

Shivani Sen (Unspecified WLW)

Runaways (2017)

Karolina Dean (Lesbian)

Nico Minoru (Bisexual)

Xavin (Pansexual)

Safe (2018)

Pete Mayfield (Gay)

Saving Hope (2012)

Bree Hannigan (Lesbian)

Maggie Lin (Bisexual)

Sydney Katz (Lesbian)

Shadowhunters (2016)

Alexander "Alec" Lightwood (Gay)

Aline Penhallow (Unspecified WLW)

Magnus Bane (Bisexual)

Olivia Wilson (Unspecified WLW)

Samantha (Unspecified WLW)

She-Ra and the Princesses of Power (2018)

Adora (Lesbian)

Bow (Bisexual)

Catra (Lesbian)

Double Trouble (Gay)

Entrapta (Bisexual)

George (Gay)

Glimmer (Bisexual)

Huntara (Lesbian)

Kyle (Bisexual)

Lance (Gay)

Light Hope (Lesbian)

Lonnie (Bisexual)

Mara (Lesbian)

Mermista (Bisexual)

Netossa (Lesbian)

Perfuma (Unspecified WLW)

Rogelio (Bisexual)

Scorpia (Lesbian)

Sea Hawk (Bisexual)

Spinnerella (Lesbian)

Station 19 (2018)

Amelia Shepherd (Bisexual)

Carina DeLuca (Bisexual)

Dayna Knox (Lesbian)

Eli Stern (Bisexual)

Emmett Dixon (Gay)

Maya Bishop (Bisexual)

Michelle Alvarez (Lesbian)

Nikki (Bisexual)

Pam Williams (Lesbian)

Travis Montgomery (Gay)

Steven Universe (2013)

Bismuth (Lesbian)

Dogcopter (Gay)

Harold Smiley (Gay)

Pearl (Lesbian)

Peridot (Asexual, Aromantic)

Ruby (Lesbian)

Sapphire (Lesbian)

Stumptown (2019)

Dex Parios (Bisexual)

The Babysitter's Club (2020)

Dawn Schafer (Unlabeled WLW)

Janine Kishi (Lesbian)

The Magicians (2015)

Eliot Waugh (Gay)

The Owl House (2020)

Amity Blight (Lesbian)

Darius Deamonne (Gay)

Eda Clawthorne (Bisexual)

Gilbert Park (Unspecified MLM)

Harvey Park (Unspecified MLM)

Hunter (Bisexual)

Lilith Clawthorne (Asexual, Aromantic)

Luz Noceda (Bisexual)

Willow Park (Bisexual)

The Resident (2018)

Jake Wong (Gay)

The Rookie (2018)

Jackson West (Gay)

Gino Brown (Gay)

The Second Best Hospital in the Galaxy (2024)

Klak (Unspecified WLW)

Slug Girl (Unspecified WLW)

The 100 (2014)

Bryan (Gay)

Clarke Griffin (Bisexual)

Eric Jackson (Gay)

Lexa (Lesbian)

Nathan Miller (Gay)

Niylah (Lesbian)

Zev (Gay)

Titans (2018)

Tim Drake/Robin (Bisexual)

Total Drama (Franchise)

Bowie (Gay)

Raj (Gay)

9-1-1 (2018)

David Hale (Unspecified MLM)

Evan "Buck" Buckley (Bisexual)

Henrietta "Hen" Wilson (Lesbian)

John Russo (Unspecified MLM)

Karen Wilson (Lesbian)

Michael Grant (Gay)

Tommy Kinard (Gay)

9-1-1: Lone Star (2020)

Carlos Reyes (Gay)

Tyler Kennedy "TK" Strand (Gay)

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you-should-care-about-animation · 6 months ago

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June 2024

My favorite films this month were The Czech Year, the Mizisua episode of Alien Stage and The Fox and the Hare.

25 October, the First Day - Yuri Norstein & Arkadiy Tyurin (1968), If I were small - Emy Galustyan (2024 ), SCARES - Sakanauosakana (2024), Who’s Who in the Zoo - Norm McCabe (1942), The Fox and the Hare - Yuri Norstein (1973), Alien Stage - VIVINOS, The Heron and the Crane - Yuri Norstein (1974), Hell’s Fire - Ub Iwerks (1934), The Czech Year - Jiří Trnka (1947), Betty Boop’s Crazy Inventions - Dave Fleischer (1933), The Wabbit Who Came to Supper - Friz Freleng 1942, All This and Rabbit Stew - Tex Avery (1941), Case of the Missing Hare Chuck Jones (1942), Whoops! I’m a Cowboy Dave Fleischer (1937), Poor Cinderella Dave Fleischer (1934), Big Chief Koko - Dave Fleischer (1925), Vacation - Dave Fleischer (1924), Prest-O Change-O Chuck Jones (1939), Nearlyweds - Seymour Kneitel (1957), Le grand voyage de Marius - Henry Monnier (1912), Et Bankkup - Jørgen Myller (1934), Night Bus - Joe Hsieh (2019)

#things i've (re)watched this month #not an interesting month sorry guys #saw this french animation dvds called “heroes of animation” and a good quarter of it were racist cartoons from the usa #2024

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ludmilachaibemachado · 6 months ago

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Two models stand together wearing fashions by Ungaro; at left, model wears a bright green coat, with Empire bodice of yellow and green stripes, trimmed in purple, a matching green dress beneath; model at right wears a pink and orange striped coat with purple/aquamarine blu/acid green accents, a matching striped dress beneath. Photo by Dave McCabe, Mademoiselle 1966💐💐💐

Via @isabelfutre on Instagram💐

#60s icons #60s models #girlsofthesixties #1966 #mademoiselle

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pertinax--loculos · 2 years ago

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Word Find Tag

I was tagged by the wonderful @oh-no-another-idea to find mope, mother, mask and meaning! Gonna tag them back, and add @stuffaboutwriting, @thegreatobsesso, @words-after-midnight, @isherwoodj and @indecentpause (with no pressure for anyone!) to find the words number, notion, knowledge and nowhere.

Gonna take all these from The Monstrosity again, primarily first draft stuff so excuse the crutch phrases etc etc. 0.o Enjoy! ^_^

mope (unbelievably, in 240k+ words, I do not have this one, so I’m subbing it for) pout Vasco POV - D1 "Working--" It seemed to take Hopkins a couple of moments to parse that, staring at McCabe, who looked positively crestfallen that Vasco hadn't followed his lead. Then he got it. "Dammit, Dave, drugs? Again? Here?"

McCabe pouted, scraping his foot along the ground. "You're not my mother."

"No, but I suggested Aunt Cindy send you here for a fresh start, not so you could fall into the same old habits!"

Cousins, then. That definitely explained the familiarity. McCabe looked as though he was about to respond before his eyes darted towards Vasco and his mouth tightened. "Can we maybe do this somewhere else? This guy is kinda..."

Vasco showed his teeth in what could be called a smile by someone exceptionally generous and equally deranged. "Unsettling?"

"I mean, I was gonna say bug fuck crazy, but sure."

mother (is, incidentally, also in the above snippet, but:) Vasco POV - D1 "You motherfucker," Hopkins growled. "You know exactly what you're doing, don't you?"

"Do I?" Vasco injected a note of bewilderment into his tone. "And what is that?"

Hopkins looked away from him for just a moment, scanning the empty car park around them before scowling at Vasco again. "You're making up some sob story to slide yourself into our good graces, and then interpreting Syl's kindness as advances. Trying to, what? Drive a wedge between him and I?"

Vasco raised an eyebrow. "Doesn't seem to me that Carrow would think much of sob stories. And, I mean, if me flirting with him and him flirting back is enough to drive a wedge between you, as you so succinctly put it, then I'd say you have bigger problems than me."

mask Olivia POV - D1 Seagrave's smirk flickered, the tiniest line appearing between his brows. "Seriously? Why are you acting like I'm here to kill you or something? I thought we'd gotten over this, I thought our little game the other night put your pretty heads to rest."

"Maybe," Olivia said, as icily as she possibly could. "But that was before you threatened one of my friends."

She wasn't sure what she was expecting for that -- a smirk, or a laugh, or a threat, maybe -- but Seagrave just paused for a beat and then sighed a little.

"Yeah, true," he muttered, almost to himself. He raised a hand, slowly, to press the heel of his palm into his left eye. "About that--"

"You gonna try and claim you didn't mean it?" Oliva said, not bothering to mask her scorn.

"Oh, no." And there was the threat, Seagrave's voice dark, corner of his mouth lifting in just the hint of his predatory smirk. "I meant it."

meaning Vasco POV - D2

“It is not a problem, vid-ey,” Carrow said. “It was not our true intentions.”

Fuck. The accent, the vocative in the middle there; Vasco was pretty sure that was fucking Yarran. Yep, he definitely needed to get a better read on this guy asap.

“How’d you know it was us?” Hopkins snapped, twitching a little to the side.

Hot head. But Vasco had already figured that yesterday. He spread his hands, slow and expansive as Carrow. Good faith. “Process of elimination.”

“Meaning?” A twitch back the other way. The Yarran fuck still hadn’t moved. Asshole. Odds were he knew he was an unknown and wanted to keep it that way.

Vasco stayed still. “Not important. This obviously isn’t about drugs. Care to share why it is then you asked to meet?”

Carrow placed a hand on Hopkins’s arm, still telegraphing his movements clearly, so they stayed ambiguous and nonthreatening. Vasco was liking him less and less with every passing second. “We merely have a number of questions, vid-ey. Your reputation precedes you, so you see.”

“I’m well aware.”

#word find tag #The Monstrosity #funnily enough that 'exceptionally generous and equally deranged' line is one of my favourite i've ever written #so that's fun

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ijustwantedtobeoneofthestrokesuk · 2 months ago

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The Value Of Art?

Back in the ‘90s, a CD would cost around £15, a monthly subscription to a streaming service, where you have access to over 70 million songs costs less than that. That price hasn’t changed since they launched, despite, not only offering more content but also, inflation, everything else costs more. Their pricing structure doesn’t make economic sense but they are so competitive with one another, they are scared to lose subscribers if they rise their fee.

Bill Ryder-Jones (The Coral founding member) “The rates need sorting out for artists but on the whole, I think it's good.”

The value of anything is how much somebody is willing to pay for it. That price is generally dictated by supply and demand. Thanks to technology the entry level to being a musician is lower than ever, it doesn’t mean that the quality is lower, it’s just easier for potential stars to get out there. It’s now possible to create music, whatever the genre on a laptop, if you’re a talented songwriter it doesn’t matter what medium you use to create art. Long-term success will be based on how good something is.

Dominic Masters (The Others) “I think it's a lot easier for artists to get stuff out there on their own these days which is brilliant. I think it's easier to have that DIY approach as there are certainly more channels/formats to get your music out there to the wider public from YouTube, BandCamp, TikTok etc.

I needed to get a record label in the 2000's as if I was gonna leave my job? I would need to be able to pay the rent. I think now it's trickier to get a label and maybe people now don't look at music as something you do professionally but opportunities to put your music out there yourself are vast. We opted to use BandCamp to release the third album 'Songs for the Disillusioned' and again I think we will use the same format to give away the fourth album.”

80% of music consumption came from streaming in 2020, an increase of 20% (thanks COVID!). Streaming is opening up people’s pallets and broadening tastes, which is great but it also minimises the opportunities for ‘scenes’ to develop.

Dave McCabe (The Zutons) “I think streaming is good but artists need paying properly. It’s that simple, it’s very corrupt and very insulting what people are paid at the moment.”

In 2021:

60,000 songs were uploaded to Spotify each day, that’s 22 million a year!

Over 7 million musicians on Spotify

90% of the streams on the platform were from just 57,000 artists

800 artists generated over $1 million a year from Spotify

7500 earned over $100,000

The likelihood of being a $100,000 a year artist on Spotify is 0.094%.

Zac Stephenson (Special Needs) “I think we live in a society now where our patience levels are incredibly low so it’s a product of that. We want everything and we want it now and we want it for free or virtually free and in actual fact it hurts artists.

You get peanuts for having your music on streaming sites, and I mean literally not enough to keep you in peanuts over the course of a year, unless you’re getting millions of streams.

Artists are fearful of not having their stuff up there though because having your content on Spotify or whatever is seen as some sort of badge of professionalism. And the more artists that comply, the harder it is for anyone else to protest. They’re seen as contrary rebels, or people think they’re not at a level to justify their content being on Spotify.

Plus, it’s not just the fact that you get paid so little for the streams themselves that’s the only problem because the ability to instantly play almost any song in the history of music for free or a small monthly charge also discourages virtually everybody from actually purchasing music.”

Has streaming improved the standard of music?

An artist can no longer get away with one big single and fill the rest with trash like they previously did. The way music is released is ever-changing in the streaming era, some artists focus on singles, 7 to 9-track ‘albums’ are becoming a thing, too long for an EP, too short for an album (recording a song is expensive, why record 10 if 8 is good enough). Then there are albums, particularly in hip-hop with 18 or more songs which is far too long but it’s good for getting more money from streaming. Nothing is permanent anymore, Kanye continues to work on albums after they have been released on streaming platforms.

Kate Jackson (The Long Blondes) “Streaming is good for discovering music or listening to a back catalogue but artists need to be paid properly for their work and that includes a fair percentage from streaming services. This has got to change. It’s still important to buy the physical release to support the artist.”

The COVID-19 pandemic stalled growth for new artists, to minimise the risk of wasting marketing budgets on debut albums, new artists released ‘mixtapes’ which was essentially the singles that had already been released and a few other tracks, it worked in the favour of the label as it doesn’t count towards an ‘album’ on the record contract.

Major Label Benefits

The 3 major labels, Universal Music, Sony Music and Warner Music are benefitting as they are now worth a combined £73.8bn

90% of the top 10 streamed songs on Spotify are generally by major label artists

In 2020 Drake (who is on a major label) had 5 billion streams

There were just 720 UK artists who got over 1 million streams in a single month in the UK in 2020, which would earn them just £1,500

In the UK 47% of artists earn less than £10,000 a year

62% earn less than £20,000

The more streams, the less they are worth and the more artists there are, the harder it is to get discovered.

Streaming services have turned music into marketing platforms to sell tour tickets, physical copies, merch and monthly subscription packages for access to exclusive content, the opposite to what it should be.

Streaming has taken the music industry from its worst state with piracy to becoming stronger than ever but if it continues not to reward the creatives then it will no longer be a sustainable career option and art will suffer.

A user-centric system could potentially help niche artists as that would pay them for each stream that they have, not become part of a %. Just because you’re listening to your favourite band, it doesn’t mean they are being paid for it. Your subscription money just goes into one big pot but artists want the streams so they chart…

Artists have to do more for less. For artists who use the traditional methods of making an album are feeling it the most, equipment, recording and creating the product still costs the same but they aren’t being rewarded for the art, unless they are part of the elite. It’s the ‘super hit economy’ however it isn’t necessarily the platform's fault. Spotify dish out their agreed % each quarter to the rights owner, it’s up to them to distribute the money fairly. But it isn’t fair.

A song has to be listened to for at least thirty seconds and it cannot be on mute to count as a stream, platforms use technology to detect if a bot has been created to increase false streams. It has changed the way we listen to music which has changed the way music is made. A song used to average out at about 3 minutes, that is now getting shorter, towards the 2-minute mark and the structure has also changed with the chorus’ coming in at the start to draw the listener in.

Jay McAllister (Beans On Toast) “Music should evolve with the times and it is. Streaming has changed with the landscape and we’ve got to roll with it. As a music fan it’s unbelievable being able to listen to whatever you want all of the time. I’ve got a young daughter and every day on the way to nursery I put something different on, today I put on Stevie Wonder, having instant access to everything ever written is a great thing.

As a musician, something needs to change. It’s still finding its feet but the fact that the guy from Spotify is investing money in weapons manufacturing says a lot. There’s money there that should be paid to musicians, not war.”

Streaming has changed the role of a record label. With many musicians marketing themselves on social media, saving labels money they have cut their workload even further by working more like a music distributor, rather than a business that nurtures talent. They have never been richer, distribution is easier and cheaper than ever as they don’t need to make as many physical copies as they used to.

Musicians have always struggled, financially. There are very few artists who ‘make it’ and ‘making it’ isn’t having a top 10 single. To be a career artist they need to be producing consistently successful albums, there’s only a handful who achieve this each generation and, with more and more people making music, there is less money to go around,

For a band to be successful there are a lot of people working behind the scenes to make it happen. Yes, artists should get the higher cut as it’s them making the product but there are managers, accountants, agents, assistants, record labels, producers, engineers, PR, marketing teams, lawyers, promoters, tour crew and many more who all need paying too.

We now live in a world full of information, the behind the scenes stuff isn’t so secret anymore. Artists who had a couple of number 1 albums in the ‘60s, ‘70’s or ‘80’s would have struggled too, but they didn’t have X (Twitter) to be vocal about it. It isn’t fair but there are a lot of artists out there who think that just because they can write a tune or play guitar, they deserve the good life. Unfortunately, that isn’t how the world works, in any industry.

The COVID-19 pandemic was a damaging time for creatives who could no longer earn money from performing and they had to rely on income from streaming. This new way of life highlighted the divide between artists on streaming platforms and a group of them spoke out, launching the Broken Record Campaign in May 2020.

When one song is streamed on Spotify, the owner of the song (usually the label) gets £0.004. Once the artist has paid off their debt to the label (advance, recording costs, management fees etc…) and, depending on their contract terms, they could receive 20% of that, which means that their song will need to be streamed one thousand times to earn 80p

Artists with the most streams receive a higher % of income from streaming platforms, you might have never listened to Drake but as he was the most-streamed artist in 2020 he and his label, Universal Music Group will be getting a slice of your subscription.

Also in the same month, The Musicians Union and The Ivors Academy teamed up to launch the Keep Music Alive campaign with the goal to, ‘fix streaming’. The two associations are campaigning to change the way performers and songwriters are being paid as streaming services have become the main source when it comes to music but the law and agreements are outdated. The creatives are being exploited by the record labels and streaming platforms.

Where Broken Record campaign is looking at the streaming platforms, Keep Music Alive is wanting change from record labels as well.

Alfie Jackson (The Holloways) “Money is the toughest challenge for musicians today. Being paid fairly through streaming where royalties are distributed to the top artists taking from subscription fees where listeners aren’t even listening to those top artists. The labels and Spotify pay out the money as they see fit rather than it being a clear system where it’s fair for everyone involved at every level.

I would overhaul the system completely and have it where you top up your credit for streaming and each play cost you like 2p a play or something and that two pence is divided four ways for Spotify, label, performer and writer. This would also mean the listener understands that there is a value to each song they play and they know also that the choice to listen to a certain artist is going to reward the artist that they love.

As a listener, me paying £10 a month and listening to the artists I love but knowing my money is going to Ed Sheeran and Adele is ridiculous.

Playing live has also got more and more difficult as so many great venues have closed. the British music industry has got more and more into drill, grime, electronic music and so on which is cool but for me traditional musicians have seen their livelihood cut off with the falling number of gigs featuring live musicians and the falling number of songs played on the radio featuring actual musicians.

It’s less about musicians and more about producers and performers.

The positives for streaming are anyone can get their music out there and anyone can find any music that they want regardless of their income.

The negatives are that it’s rather fixed for artists with the right connections but that’s the way it’s always been. The labels are able to be shadier with the money and how it’s paid out which again has always been the case but now it feels cloudier than ever. I personally wouldn’t want to be a small artist on a big label.

If you’re an independent artist on Spotify you can do well. It’s sustainable for some but not for others, as a writer the pay is really pitiful. I need about 10,000 streams to buy breakfast. For me, personally, I am exploring lots of other ways of using my music and skills to actually make money from it.

I often like to give the example whereby I’ve gone to a bike shop because I need a repair on my wheel. I am in the shop for half an hour, the guy repairing the bike is listening to my music on Spotify and at the end of it I have to pay him seventy quid and he’s listened to my work for free.

It is a crude example that doesn’t cover all the bases but the principle is clear.

Another thing that people might say about Spotify is oh but I can try all this music for free which I wouldn’t of known about otherwise. That’s like me walking into a bar and trying every beer for free and then walking out and going into a cake shop and trying all the cakes for free and then maybe paying £5 to the pub at the end of the week and £5 to a baker at the end of the week.”

Adam Ficek (Babyshambles/psychotherapist) “Most musicians are financially struggling and there is not enough being done to help them. The industry is in decline with less and less reward for the upcoming tier of strivers. It is 'better than ever' for mental health support but it's still not enough. There are more resources now but it is far harder to make any money. Live Nation and Clear Channel are slowly sucking the creative affordance from the bones of the young rebels. Venues are crumbling, DIY has been microwaved for far too long.”

Blaine Harrison (Mustery Jets) “I think the key to being any kind of artist in the current climate is to constantly ask yourself how you can contribute something meaningful to peoples lives, whilst following your own ambitions. Yes, the internet has changed the way we listen to music, but it has also changed the way we read. It has changed the way we perceive art and it has changed the way we look at one another’s lives, not to mention how we view our own lives.

I don’t think music is an industry which attracts those eager to make a fortune anymore, because the way we attribute value to things has completely changed. But personally, that was never what attracted me to it in the first place. I got into music to try and make sense of the world around me, and make a nice racket with my friends and hopefully see some cool places and meet some nice people whilst doing it. If getting your songs to people means getting better at using social media and learning how TikTok algorithms work then that’s something you’ve got to do. It’s part of the work. But don’t forget to keep writing songs, that’s where it all begins and where it all ends.”

Kate Jackson (The Long Blondes) “As long as you attain a certain level of success it is possible to be a full-time musician. Getting there though is harder than ever because an artist can have a Top 40 album and still not earn the minimum wage from it. You need longevity.”

Dominic Masters (The Others) “The way we listen to music has evolved. People don’t go in to a shop to buy music anymore and if they do it's for vinyl. Now you can listen to all The Others albums on Spotify, BandCamp, YouTube etc so what incentive is there for the listener to pay for the product. It would have been amazing for me when I was a teenager as I wouldn't have had to travel twenty miles to buy music. Now you can get everything for free, it's very good for listeners, especially if your broke, you now have access to almost any music you want for free.

As a sustainable career, not for The Others. For other bands, well, I think if you are in band selling 100,000 units/albums at £10 a time a year then yeah, there is career. But I think for bands doing less than that it's just gonna be a hobby really and I think the time of guitar bands being the mainstream has gone. Now there is more choice and variety for the listener. The revenues that the artists get from streaming is little, so I see the future as live revenue only for bands and people buying vinyl and merch.”

It’s just an evolution in the music industry, at one time it was the songwriter who earned the money then that turned around to the performer getting the cheque. Bands will return again but they won’t be made for our ears.

There’s positives and negatives to streaming and social media. Streaming devalues music, makes everything disposable but it also makes everything accessible. A generation is coming through who’ve grown up with no real genres, there’s cross-pollination going on, they’ll still be kids who seek out subcultures but everything bubbling up in the underground gets a spotlight much quicker.

Gemma Clarke (Babyshambles/The Suffrajets/JW Paris) “One of the main differences of being in a band in 2022 compared to 15 years previous is the need to use social media, it’s very DIY now. It used to be, just play gigs to be seen and then hopefully signed, then the huge machines would do everything for you! Bands have to think outside that box, use social media and find a way to stand out and be heard! (Still trying to work that out ourselves!).”

Social media takes the mystery out of everything. The only things we knew about bands outside of our home cities was what we read in the NME, heard on record or caught on tv, now we know what they eat for breakfast. Oversharing needs to end but we have the tools to educate ourselves, learn from others. Everything is global now, we are just swipes away from finding out what is going on in other communities and cultures, it is an opportunity to gain more experience, empathise.

There’s so much going on online, everything gets dated quickly.

Conor McNicholas “Indie landfill was a result of mass production from major labels jumping on a trend. It was the beginning of the proliferation and ubiquity of music through Spotify where this just the mush of stuff being created, the tools are so simple that anybody could jump on Ableton or GarageBand and get a track up in twenty minutes, suddenly they are an artist. Look and story have never been so important, the dynamic and story around music, like Kanye. We’ve moved into music landfill.”

NEXT CHAPTER

#Streaming #Spotify

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