#brighton street artists

[beansprean]

My entry for What We Create In The Shadows vol 4! @wwcitszine

It was a privilege to be able to contribute to this zine among such creative, talented, and fun artist and writers! The mods truly did an incredible job and the zine is BEAUTIFUL! Highly recommend getting a physical copy if you can. :)

You can still get WWCITS until July 28th! All proceeds to to PFLAG!

(ID in alt and under cut)

ID: Detailed drawing of a city street at night; Nandor, Laszlo, Nadja, and Colin Robinson are in the foreground, running for their lives towards the viewer. Chasing them (having caught up to them, really) is vampire Guillermo flying through the air on bat wings, silhouetted by the glowing full moon behind him. He is grinning maniacally with his clawed hands curled upward in triumph, eyes glowing a burning orange as he poses mid-flight, chest puffed out with his newfound power. Nandor is in the front, arms pumping, eyes wide with fear as he looks straight ahead. At his elbow is Laszlo, looking over his shoulder in alarm, one hand clamped around Nadja's wrist to drag her on behind him. Nadja's other hand is holding up her skirts and cradling Nadja doll potato-sack style in her elbow as she rushes along. She looks upward with a snarl, distracted, as Guillermo looms above her. Lagging behind is Colin Robinson, huffing and puffing as he tries to keep up.

The city street behind them is full of easter eggs. A kiosk on the left behind Laszlo is covered in flyers: fundraiser to cover medical bills for Toby, a recruitment poster for the Mosquito Club, an add for reanimations for $350 cash, a Go Flip Yourself ad, a comptroller campaign poster for Sean covered up by one for Colin covered up by one for Evie, a newspaper article about Morrigan Manor, a Wicked poster, a flyer for the familiar mixer, a missing poster for Jenna, a Found poster for Guillermo's bicycle, a handwritten ad that says "Djinn to good home, call Gyermo" with a photo of the djinn lamp, and several stickers including one that says 'werewolves not swearwolves, a Palestinian flag, and the s5 moon promo shot. Sitting atop the kiosk is a frog with curly brown hair - la Guillerana, and above it on the brick wall is a black poster featuring a hooded figure with round glowing eyes that says "The Night Market: if you know, you know." The roof of the building has a clothesline stretched across it where the Cloak of Duplication is hanging. The next building has glass doors and windows across the first floor with soft ambient lighting coming from within. A foldable chalkboard outside says 'closed for privat pardy'. The name of the restaurant is printed above the door: 'love at first bite'. The second floor is a grid of square windows with the blinds drawn, a single ad for Rapula Realty in an upper window. A single anonymous finger parts the blinds on a lower window to peek out. The third floor has three windows and fairy lights draped across the front. A purple flag that says 'human wellness inquire within' hangs from the first window, and the second has one foggy pane with the word 'help' written on it backwards. Black Peter the goat is on the roof, front hooves planted on the ledge to look out at the running vampires in the street. The following building has a grid of windows and a temporary vinyl sign stretched across it that says 'Urgent Care'. More buildings stretch out behind to the horizon.

On the right, there is a small newspaper vending machine with the headlines 'Flying Man Spotted' and 'Strange meteor lands in New Brighton'. The adjacent building has four stories, the only entrance a set of stairs going straight down. Neon pink lights pour from the doorway and lowermost windows. Above the doorway with an arrow pointing down is a neon sign for Nadja's. Below it, a poster exclaiming 'Baby Colin Live!' One of the middle windows has a sign that says 'Nadja and Laszlo Human Music Group performing Thursday nights'. Hanging from the roof precariously by both hands and looking towards the ground in terror is Patton Oswalt. One of the Baron's mutant children is sitting happily on the ledge nearby. A tree is on the roof and has some kind of net hanging from it. The next building is corporate and mostly windows, the bottommost portion open and flanked by yellow poles, a yellow and black divider blocking the entrance. An awning above it says 'Jesk Parking'. Inside, there is what looks to be a pile of rats. Two bats fly past. A vinyl sign stretched over the building front is an ad showing a man hugging a pillow that says "Get the Guy Pillow! Buy 100 get 1 free! Guys only!" The roof turns suddenly to greco-roman architecture, a row of stone columns lining the edge. Sitting at the very top are the two gargoyles having a riveting conversation. The next building is 3 stories and has a trans flag hanging from one corner and a progress flat from the other. The first floor has an alcove with a door flanked by two windows, one featuring shelves with jars of white liquid, the other a palmistry poster that reads 'free palm reading with every ejaculation'. The store name above reads 'Satchel Serafina' More text on the second floor reads 'Home of Memo's Man Milk, gathered lovingly by hand.' Beyond this building is a small grassy area behind a fence with a dead old tree and some graffiti that says 'Simon the Devious' with a crown. There is a nearby sewer drain under the sidewalk where a hand is reaching out. More buildings stretch out behind to the horizon. /end ID

[bridenore]

Author rec : wolfpants

Wolfpants is one of my favorite authors. Here are a few recs, listed in alphabetical order.

August by @wolfpants [3k]

Summer, 1998. Harry Potter arrives at the Manor to return Draco's wand. The problem is, he keeps coming back.

Aurora by @wolfpants [5k]

Eighth Year at a half-built Hogwarts, and Harry is not following Draco Malfoy anymore. At least, that's what he's telling himself.

Everybody Hates a Tourist by @wolfpants [51k]

On a stag do in sunny Brighton with the Gryffindor lads, the last person Harry expects to run into is Draco Malfoy. After a glimpse of Malfoy’s Muggle life in Britain’s gay capital, Harry’s curiosity gets the better of him and he finds himself returning to the seaside again and again, drawn to the city, drawn to this new version of Malfoy that Harry barely recognises from school. Meanwhile, Draco’s just trying to live his big and best queer life: working for the weekend, chasing hot men, getting lost in Brighton’s nightlife, and making friends with the neighbourhood cats. Why does his former school rival and crush have to show up and spoil everything?

Look For Me In The Sun by @wolfpants [8k]

Harry and Draco are on the run in America after a mysterious string of werewolf-like attacks in the Muggle community causes the Ministry to  impose new and harsh anti-werewolf legislation. Giant trees, crashing waves, seedy motel rooms, and the long and winding coastal road awaits them, but will they ever be able to go back home?

Summer Place by @wolfpants [14k]

Draco has the perfect life: a perfect house on a perfect street with his perfect husband. It’s all he’s ever wanted. So why does something still feel wrong? 

Thickets by @wolfpants [17k]

When Draco returns to the UK after two decades of building his career as an internationally-renowned artist to look after his ailing, estranged father, he crosses paths with his former flame, Harry Potter, in the most unexpected way.

Under Giant Mountains by @wolfpants [33k]

Harry doesn’t know where he’s going. Everyone else has  their life paths figured out; he doesn’t even know where his map is.  Who’d have thought Draco Malfoy bathing in a Norwegian forest would be  the guidepost Harry needed? In which Harry’s trip to Norway to  visit dragon-wrangler Ron introduces him to hikes from hell, mysterious   natural magic, foraging, magical bathing, a new and bizarre friendship, and the frustrating, heady allure of his former nemesis turned sexy   globetrotting field researcher.

Waiting for the Moon to Rise by @wolfpants [8k]

When Harry and Draco move into Grimmauld Place straight out of Hogwarts, the last person they expect to find taking up residence is Bill ‘divorced, dishevelled, and dangerous’ Weasley. But what if their new, furry little problem is the help they need to finally bring them closer? Stranger things have happened, Draco supposes.

I hope you enjoy these stories as much as I did!

[dreamings-free]

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

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Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

[uwmspeccoll]

Whitewashing Lascaux, 2008. Leake Street Tunnel, Waterloo Station, London. Created for the Cans Festival, a 3-day street art street festival hosted and organized by Banksy in a tunnel under Waterloo Station.

Happy Choppers, 2002. Hoxton, London. Produced during the "Operation Enduring Freedom" campaign in Afghanistan.

Kissing Coppers, 2004. Originally in Trafalgar Street, Brighton, UK. In 2011, it was cut out and shipped to New York to be sold by art dealer Stephan Keszler at a 2014 auction in Miami for $575,000. A replica has replaced the original.

Sweeping it Under the Carpet, 2006. Hoxton, London where it appeared on the side of the White Cube Gallery, but has since been buffed.

Girl Searching Soldier, 2007. Bethlehem, West Bank, Palestine. "Whilst the image is delightfully absurd, there is also a warning for Israeli occupying forces. One day, Banksy seems to be saying, our children will be investigating you for what you have done."

Police Sniper with Boy, 2007. Bristol, UK, but in 2012 was painted over with black paint and replaced by another work, the Queen as David Bowie, by a different street artist.

ATM Girl, 2007. Exmouth Market, Finsbury, London. Created a few months before the biggest financial crash since the 1930s.

Eavesdropping, 2014. Cheltenham, UK, a sleepy, conservative, quintessentially English market town in Gloucestershire, but just three miles away from the Government Communications Headquarters (GCHQ).

Park, 2010. Downtown Los Angeles on the side of designer Tarina Tarantino's showroom a few blocks from the Los Angeles Theatre, painted just days before the premiere of Exit Through the Gift Shop at the Theatre.

Photographer Rat, 2005. Islington, London. "Rats are a good role model . . . they have no respect for the hierarchy of society and the have sex 50 times a day." -- Banksy.

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Decorative Sunday: BANKSY

Decorative art, street art, fine art, political cartoon, all four? Where's B**ksy?, an unauthorized selection of works by the infamous street artist by street art specialist Xavier Tapies published by Gingko Press in Berkeley, California in 2016, is the first survey of Banksy's art career from 2002 to 2016. Arranged chronologically, every period has a double-spread world map showing where each of the stencils was painted, what happened to the work (destroyed/sold/auctioned/still there) as well as a summary of the direction Banksy’s art took in that period.

There is Always Hope, 2002. East staircase leading up to Waterloo Bridge, Southbank, London.

View more posts featuring Decorative Plates.

[ratman669]

HEY WALTEN FILERS LET'S GET THIS BREAD s🗣️🗣️❗❗❗❗ Quick ref I did of my twf sona (for self shipping purposes). Anyways this is Georgie. He's a hitchhiker and street artist from Philly who made it all the way to a small town in Michigan named Brighton. Where he meets Sophie and Jenny and their love blossoms from there. Xe collects plushies and stickers and is apart of the funny animal fandom. Basically he's me but from the silly twf universe! 

[madonnalouise-ciccone]

Madonna poses before she was famous in New York! On February 12, 1979 photographer Martin H. M. Schreiber called an agency and they sent one of their young models for him to shoot for one of his lecture classes. Years later the model would become Madonna, the images are now to be shown in the UK for the first time at the Brighton Festival. She is often hailed as a trend setter and the undisputed queen of pop, but now a gallery in Brighton is set to show Madonna as you have never seen her before. Taken 30 years ago these black and white photographs show the unknown 20-year-old Material Girl in an intimate and sensual photo shoot. Looking remarkably like her daughter Lourdes, Madonna was a then young carefree model. Posing nude for just $30 for New York photographer Martin H. M. Schreiber in 1979, the original photographs, "The Madonna Nudes – 30th Anniversary Exhibition", were shown at Brighton's Impure Art Gallery for the first time in the UK during summer. "These photographs were taken during my photography lecture courses in New York," says 52-year-old Schreiber. "At the time she was signed to a model agency and they sent her to this job at my studio on 22nd street Manhattan."The shoot lasted a few hours and it was after that time that we got to know each other for a while." Martin H M. Schreiber developed his eye and technical abilities in the US military in the sixties, while working freelance for the New York Times. After his discharge in 1968 he attended the School of Visual Arts in New York but quit and went solo, winning honorable mention in the first Life Magazine photography contest. In 1977 he began teaching a course at Parsons on photographing the nude and his first book BODYSCAPES was published in 1980. In 1985, after Madonna had become a global icon, the shots appeared in Playboy, catapulting Schreiber to fame. Established in May 2008, Impure Art is the UK’s only permanent, commercial, erotic art gallery. It has fast acquired a reputation for showing daring and exciting work of extremely high quality. They represent over 100 local, national and international erotic artists. The Madonna Nudes – 30th Anniversary Exhibition ran from May 1 to 31 as part of Brighton Festival Fringe.

[haveyoureadthistransbook]

The Woman in the Portrait by Juliet Jacques

goodreads

In 1920's Berlin, the recovered diaries of transgender model Heike expose her as the mysterious muse and subject behind Christian Schad's best-known painting. After signing her Gender Recognition Certificate, a trans woman channels the offbeat glamour of a forgotten movie star at a Brighton gay bar. A well-known journalist finds herself under public scrutiny after taking a private BDSM game out onto the streets of Soho. Transfixed by the psychic power of monuments, an artist crowdfunds to build a tribute to victims of austerity, only to find himself the subject of a political backlash. Taking us on a smart, funny, and deeply political ride through art, sex, and discovery, The Woman in the Portrait collects the short fiction of ground-breaking transgender writer Juliet Jacques. Showcasing both previously published and unpublished works, these stories offer an era-spanning tour through culture, politics, and community, presented with Jacques' trademark originality, insight, and humour.

Mod opinion: I haven't read this short story collection yet, but I hope I can get my hands on it. I am transfixed by the phrase "transfixed by the psychic power of momuments".

[romaine2424]

Daily Blog July 3, 2023

Not feeling chatty today, too many errands and chores to do. At least I don't have to buy fireworks this year for the 4th of July. They were just outlawed last year where I live. Before that, we were all out in the street shooting of aerials and and lots of other things. Neighbors around the corner always put on quite the show. Had a few scary moments over the years. But it was all fun until the clean up!

What I'm reading:

Oh wow Everybody Hates a Tourist by anon for the @hd-wireless fest definitely earned it's right to open the fic portion of the fest. It created quite the atmosphere in Brighton were we find one Draco Malfoy living the gay Muggle scene for the last 8 years.

Summary:

On a stag do in sunny Brighton with the Gryffindor lads, the last person Harry expects to run into is Draco Malfoy. After a glimpse of Malfoy’s Muggle life in Britain’s gay capital, Harry’s curiosity gets the better of him and he finds himself returning to the seaside again and again, drawn to the city, drawn to this new version of Malfoy that Harry barely recognises from school. Meanwhile, Draco’s just trying to live his big and best queer life: working for the weekend, chasing hot men, getting lost in Brighton's nightlife, and making friends with the neighbourhood cats. Why does his former school rival and crush have to show up and spoil everything?

There was so much to enjoy about this fic given the summertime atmosphere and just hanging out in the pubs, having some smokes, and eating bits of this and that. Harry in this fic is going through some changes in his life but is still on solid ground physically and mentally. We think Draco is too, but there is a vulnerability there and, of course, Harry wants to fix it. One of my favorite things about this fic is Harry's innocence but also sense of adventure. Draco introducing him bit by bit to his lifestyle and the atmosphere of Brighton and Harry is wide-eyed but also enthusiastic. Very cute. Oh and asking for gossip about fellow classmates was a riot. Poor innocent Harry. :) A lovely feel-good fic with definite moments of seriousness. Read and definitely give MA some love with comments!

Everybody Hates a Tourist on AO3

Drarry Tumblr Fic/Art Resources

I know most of you are probably already following @thedrarrylibrarian, but not everyone goes to the home page of someone's Tumblr site. This is a must for @thedrarrylibrarian because there is so much packed into a few links. The first thing you should do is read the FAQ on the home page before you get started. Especially if you're looking for a type of fic. Some fic genres and tropes aren't covered. Also, if you're looking for a specific fic, this is not the place as noted. That is @lostdrarryfics, another great drarry fandom resource.

What is on here is a Card Catolog, which gives a plethora of subject matters to find fics under. Like Beach Reads, or Spy!Draco or Raising Teddy. And even better, they are being continually updated.

Also there is the Reference Section, which is extremely helpful. Here's a few examples: How to Tag your Fic, How to Gain Friends & Friends Writing Fanfic, and How to Write Fanfic Summaries!

The last category, I've mentioned before and that is Friends of the Library, which is a list with links to the collaborations with other writers/artists/reccers/friends, which includes The Happy Hour events.

And finally, you can always ask for a type of fic(s) to fulfill a certain want or need. :)

A lot of work has gone into the site. It's very easy to use, which I particularly am a fan of. So go play around and see what you can discover in the @thedrarrylibrarian!

Tomorrow is a holiday and I'm not sure I'll be making a post as we have some family plans. Hope everyone enjoys their week!

Rom

[somethingimworkingon]

How to save your brain from being eaten by AI (maybe): keep a sketchbook

At the beginning of May I started bookmarking photographers who are using AI in interesting ways, to add to my Instagram collection of digital art references (#artdirectionneversleeps). Later that month I did my own first experiments using NightCafe to visualise ideas for a client. It was entertaining and frustrating, partly because of my lack of prompt skills, and partly because the "styles" you could apply to your "artwork" looked exactly like bad fantasy art from the 1980s.

However, by June, photographers I was working with were using Midjourney to conceptualise setups – still with a bit of that tacky SciFi book cover feel, but it was proving genuinely useful to talk about how sets might be designed, for instance. By July, I was seeing film directors use AI for pitching storyboards, and my lovely students at Condé Nast College of Fashion and Design using it for presentation mock-ups.

That's just three months. From AI being a "what?" to becoming a completely logical, natural part of the image-making process, for at least some parts of the creative industries. The speed of change is head-spinning. And this is just the beginning.

Meanwhile, also in May, I was teaching at CNC on a really fun module about Brand Identity Design. Part of this involved the students keeping a sketchbook, to explore and develop their ideas. One of my lectures was about WHY people keep sketchbooks, and I illustrated several points with quotes from designers, architects and artists, and pages from my own sketchbooks from waaaaay back in the day.

Because WBITD, when I was an art student, I kept sketchbooks constantly. Not only was it a course requirement, for me it was also a way to stave off boredom and depression: it's hard to think negative thoughts when your brain is absorbed in analysing the curves of a hand or a coffee cup or a flower. When my best friend and I used to Interrail around Italy, I would draw our cafe tables and the local streets, and we'd get rewarded with extra drinks and desserts by kindly waiters.

Somewhere around the mid 90s I gave up sketching, partly because life got more hectic, and partly because smartphones got invented. When Emma and I started the BID course this summer, it had been a very long time indeed since I cracked open a sketchbook. And, erm, even though I did buy one – a lovely, spiral-bound, hard covered book with wonderful heavyweight paper, from Seawhite of Brighton – it took me another few months to start using it.

Two things pushed me into finally starting: firstly, it's #drawugst and I thought I should try a drawing a day, every day, during August. I started on Tuesday, August 1st, with a graphite pencil sketch of my aloe plant. I did it in semi-darkness, around 9pm, and my hand-eye coordination felt a but rusty, but following the heavy curves of the plant was satisfying.

On Wednesday I drew fallen agapanthus blossoms, playing with coloured marker pens (of which I have a ridiculously huge collection, almost never used). This was a reminder of the importance of not trying to control the end result while you're sketching. Because you just can't.

Yesterday evening I scribbled our messy after-dinner table. I used the graphite pencil, a Koh-I-Noor Hardtmuth charcoal pencil, and an Edding 1225 calligraphy pen – and blackberries. The fruit, not the redundant communication device. Blackberry juice is a fabulous art material – it gives this beautiful purple inky result, and it's such a pleasure to smear all over the paper. I'd picked the berries earlier this evening on Wormwood Scrubs, just to add to the satisfaction of the whole experience. (And this morning I made almond milk smoothies with the rest of them.)

The other thing which made me finally restart a sketchbook after all this time is AI. I can see that it is just going to get bigger, more powerful, and more indispensable in my industry. I'm not going to worry about losing my job to a bot (I don't have "a job", anyhow), but I am concerned about what it will do to our creativity.

When you use one tool extensively it starts to train your brain, you develop habits and shortcuts. It's one thing to have tricks for making the most of Photoshop, or to have routines when you set up an InDesign document. But when you're trying to generate ideas you need to keep an open mind. To look at things from different angles. To look again, look harder. Try wacky ideas. Draw with your food. Stick things onto the pages. Doodle. Take a line for a walk. Write notes to self. Be creative. Be messy. Be human.

[itsjustmarle]

Let’s talk about samples!

I return from the Easter break 🐣 with some food for thought to explore. I wondered for a long time whether I should come up with something striking or related to past core content, but since I would like to revisit my Erasmus, I decided to put together my experiences and insights from my colleagues' blogs and from course lectures tied to this project. 

GUERRILLA DESIGN is the first shot

I came across this concept while scrolling through the course material and would like to bring it into a declination of examples chosen to mix my personal experience with its relevance in a social and cultural context. 

We can barely try to define this extremely varied practice:

“Unsanctioned, unscripted, and seemingly “undesirable” activities have long appropriated urban spaces in routine and sometimes unexpected ways, bringing new meanings and unforeseen functions to those places.”

This special issue aims to advance our understanding of urban design by situating it in a broader social, economic and political practice that includes formal and informal practices performed by a wide variety of individual and collective actors.

Expressiveness can be demonstrated by many nuances:

Street vending

When vendors take over street corners and sidewalks on a daily basis to provide basic and necessary services to city dwellers.

Here some cool, cutting-edge and Italian-vibes examples:

Graffiti

Gardening

Knitting

Skateboarding

Coming across the Graffiti thing I feel in the mood to share with you, tongue firmly planted in cheek, the most relevant model of resistance in street art beliefs: Banksy.

He has built a celebrated body of work, both permanent and impermanent, that uses satire, subversion, black humor and irony to create social, political and humanistic messages that resonate with the masses on a popular and public level. He is credited with catapulting guerrilla work into the mainstream as a viable art form.

I had the opportunity to see a very well curated exhibition here in Vienna, which was extended until 16th of April, with a substantial portion of his artwork, and my attention was stolen by the material applications pasted into the public and collective environment. 

That was my closest contact with Banksy's art and I really enjoyed all the provocative works, especially material and architectural ones, such as the following:

October 2013, Banksy undertook a month-long residency in New York entitled ‘Better Out Than In.’ 

Summer of 2015, Banksy opened the dystopian theme park Dismaland in the seaside resort of Weston-super-Mare. Prepared entirely in secret, the project unveiled 10 new works by Banksy as well as works from 58 other artists.

Banksy went on to participate in the designing of the Walled Off Hotel in Bethlehem in 2017, opposite the Israeli West Bank Barrier.

To show you more:

[rocksaltau]

6 Best Afternoon Tea Cafés in Brighton, Melbourne: A Guide to Elegance and Indulgence

Brighton, Melbourne, is known for its picturesque beaches, vibrant community, and sophisticated dining options. Among its culinary gems, afternoon tea cafés stand out as havens of relaxation and indulgence. Whether you’re a local or a visitor, these elegant spots offer a chance to unwind with delectable treats and perfectly brewed teas. Here are six of the best afternoon tea cafés in Brighton that promise to make your day extra special.

1. The Rocksalt

Located in the heart of Brighton, The Rocksalt is a delightful spot for a quintessential afternoon tea experience. Known for its rustic charm and warm ambiance, this café offers a refined selection of teas paired with freshly baked scones, delicate finger sandwiches, and exquisite pastries. The Classic Afternoon Tea set includes a variety of sweet and savoury treats, beautifully presented on tiered stands. Whether you’re celebrating a special occasion or catching up with friends, The Pantry provides a relaxed yet elegant setting.

Must-Try: Lemon drizzle cake and their house-blended Earl Grey tea.

2. The Corner Store

Nestled on a quiet Brighton street, The Corner Store exudes charm and sophistication. This quaint café is renowned for its unique take on afternoon tea, blending traditional elements with modern twists. Their menu includes freshly brewed teas, artisanal coffees, and a selection of gourmet bites like smoked salmon blinis and mini quiches. The High Tea Experience features an assortment of dainty desserts, including macarons and éclairs, making it a haven for sweet tooths.

Must-Try: Pistachio macarons and their signature chai latte.

3. Brighton Soul Café

Brighton Soul Café brings a touch of creativity to the afternoon tea scene. Known for its lively atmosphere and artistic presentations, this café offers an afternoon tea menu filled with surprises. Alongside classic scones and tea sandwiches, you’ll find modern treats like Matcha Cheesecake Bites and Rosewater Panna Cotta. Vegan and gluten-free options are also available, ensuring everyone can enjoy this indulgent experience. The café’s vibrant décor and friendly service make it a favourite among locals.

Must-Try: Vegan chocolate tart and their floral-infused teas.

4. White Rabbit Café

White Rabbit Café is a standout destination for those seeking a luxurious afternoon tea experience. With its chic interiors and carefully curated menu, the café promises an afternoon of indulgence. The Afternoon Tea Set includes classic treats like buttery scones with jam and cream, alongside innovative creations such as Salted Caramel Profiteroles. Their tea selection ranges from traditional English Breakfast to exotic herbal infusions, catering to every preference. For an added touch of luxury, you can opt for a glass of sparkling wine with your tea.

Must-Try: Scones with homemade raspberry jam and their lavender-infused tea.

5. Dendy Deli Café

Located near Brighton’s iconic Dendy Beach, Dendy Deli Café combines a casual vibe with an elegant afternoon tea menu. The café is perfect for those who prefer a laid-back atmosphere without compromising on quality. Their Afternoon Tea Platter includes savoury bites like mini chicken pies and vegetable frittatas, along with indulgent desserts such as Chocolate Fondant and Lemon Meringue Tarts. Pair your meal with a pot of freshly brewed tea or their popular iced chai.

Must-Try: Lemon meringue tart and their spiced iced chai.

6. Little Ox Café

Little Ox Café is a hidden gem in Brighton, offering a contemporary take on afternoon tea. Known for its innovative menu and stylish interiors, the café is perfect for those who appreciate creativity in their dining experiences. Their Modern High Tea features unique offerings like Beetroot and Feta Tartlets and Passionfruit Pavlova. The café’s emphasis on fresh, locally sourced ingredients ensures a memorable and flavourful experience. Little Ox also caters to dietary preferences, with gluten-free and vegetarian options available.

Must-Try: Passionfruit pavlova and their signature green tea blend.

Why Brighton is Perfect for Afternoon Tea

Brighton’s blend of coastal charm and cosmopolitan sophistication makes it an ideal destination for afternoon tea enthusiasts. The cafés here are known for their attention to detail, creative menus, and welcoming atmospheres. Whether you’re a fan of traditional English high tea or enjoy modern twists on classic treats, Brighton has something for everyone.

Tips for a Perfect Afternoon Tea Experience

Timing: Most cafés serve afternoon tea between 2 PM and 5 PM, so plan your visit accordingly.

Reservations: Popular spots like The Pantry and White Rabbit Café can get busy, so it’s advisable to book in advance.

Dress Code: While most cafés have a relaxed vibe, some upscale venues might require smart casual attire.

Pairings: Enhance your experience by trying tea and dessert pairings recommended by the staff.

Conclusion

Brighton Cafes, Melbourne, offers a delightful array of afternoon tea cafés that cater to every mood and taste. From the elegant presentations at The Pantry to the creative flavors at Little Ox Café, each venue brings its unique charm to the table. Whether you’re a local or visiting this vibrant suburb, taking time out for an afternoon tea experience is a must. So, gather your friends, sip on perfectly brewed tea, and indulge in the finest treats Brighton has to offer.

[shaadicapture12]

Creating Timeless memories: The Art of a Melbourne wedding photographer

Celebrated by couples and their loved ones, weddings are turning points in life. Capturing emotions, joy, and customs with grace depends on a photographer's lens, which also helps to preserve these events. More than just a title, Wedding Photographer Melbourne is a trade of visual storytelling combining technical knowledge with artistic flare. The function of a wedding photographer A wedding photographer is memory keeper not simply a camera person. Their work tells a love story with images, not only captures images. Melbourne offers photographers a variety of backgrounds to produce arresting images with its beautiful scenery and energetic metropolitan locations. The essence of wedding photography Wedding photography captures many different aspects: Emotions define the nature of a wedding from the bride's first glance to the tears of delight during vows. Recording these unvarnished events calls for perfect timing and a sharp eye. Cultural Nuances: The varied fabric of Melbourne enhances marriages with customs and ceremonies. The awareness of these cultural aspects by a photographer guarantees the preservation of every important detail.

The celebration depends mostly on wedding clothing, floral arrangements, table settings, and accessories. Including these minute information gives the wedding album more richness.

Popular Styles of Wedding Photographues Melbourne presents a range of traditional and modern wedding venues, so producing different photography techniques: Conventional Pictures Posed photos of the couple, family, and guests define this approach. It is mostly about making sure the frame records everyone important. Candid Imaging Unscripted events are caught in candid photography. The truth of the celebration is reflected in the laughing, whispers, and impromptu dances. Style of Documentary Work This method chronologically narrates the wedding story, stressing important events and turning points. Couples who appreciate a coherent narrative should find it perfect. Fine Art Photographues Using dramatic lighting, original compositions, and artistic approaches to create amazing photographs, fine art photography stresses invention. The Difficulties of wedding photography There are difficulties in wedding photography; one must be skilled in thinking fast and adjusting to changing conditions: Limited Time: A crowded wedding calendar hardly allows for any delay. Photographers have limited periods to capture all intended views, hence they have to work quickly. Lighting Variations: From brilliantly illuminated outdoor ceremonies to darkly lit banquets, a photographer must change their equipment and settings to guarantee high-quality images in each lighting scenario. Unpredictable Conditions of Weather Unpredictable Melbourne weather might influence outdoor filming. Expert photographers schedule for backup plans include other sites or imaginative use of inside lighting and umbrellas. Melbourne: The Paradise of a Photographer The appeal of Melbourne is found in its mix of metropolitan sophistication and natural beauty. There are plenty of sites available to wedding photographers from: Gardens of Botany The Royal Botanic Gardens' rich vegetation and vivid flowers create a calm backdrop for wedding pictures. Cityscape References Modern, urban elements from iconic sites like Federation Square and Flinders Street Station give wedding images a modern touch. Beachfront Melbourne provides a picturesque backdrop for wedding photos with areas like Brighton Beach featuring vibrant bathing boxes. Rustic Countryside Vineyards and farms in the Yarra Valley and Mornington Peninsula have a rustic appeal ideal for couples looking for a dream retreat. The Value of Exchange of Ideas An album of a successful marriage depends on cooperation between the couple and the photographer. Open communication guarantees the realisation of the couple's vision, thereby producing images that complement their own taste and style. Couples should bring their photographer their ideas, inspirations, and must-have shots. Pre-wedding meetings let the photographer grasp the couple's dynamic, therefore enabling natural interaction capturing.

wedding schedules: Detailed plans guarantee photographers know when and where important events will take place.

Before-wedding photos Celebrating the couple's path before their big day has made pre-wedding photos increasingly popular. The adaptable sites of Melbourne make it perfect for such workshops. Urban romance for modern couples can be found in the Southbank Promenade and Docklands. Nature's Blessfulness: Calm locations for private pictures abound on Dandenong Ranges and Phillip Island.

Couples can add personal touches to their pre-wedding photos by include interests, pastimes, or cultural aspects.

Technology for Wedding Photography Modern wedding photography has changed with technological developments to be more artistic and practical: Aerial views from drones provide a stunning viewpoint for wedding albums, capturing sites and events from above.

Fun and participatory, photo booths let attendees capture unguarded images during the reception. Some photographers offer same-day edits for special events so couples may rapidly share highlights.

Making a Memorable Album for Your Wedding A wedding album is a material memento of the events of the day. To design one that really captures the event: Sort Images: Sort pictures chronologically to narrate the daily events. Include specifics: For a complete visual story, include views of décor, invitations, and venue locations. Employ varied points of view. To vary, combine close-ups of emotions and details with wide-angle venue images. Choosing the Correct Marriage Photographer To guarantee quality results, one must choose the appropriate professional: Looking over earlier work helps couples evaluate a photographer's style and experience. Testimonials: Comment from past customers reveal the dependability and professionalism of the photographer.

Relaxed and natural pictures come from a good relationship between the couple and photographer.

Photographs Taken After a Wedding Post-wedding meetings give couples who wish more personal or creative images an opportunity to dress again and enjoy the excitement of their special day. Without the pressures of the wedding itself, photographers can play with unusual locations and ideas. Saving Images Maintaining the memories depends on careful photo preservation once the wedding is over: High-resolution photographs kept on safe discs guarantee lifetime in digital storage. Professionally crafted albums are still everlasting keepsakes for couples and families. Enlarging preferred pictures for display at home gives a personal touch with canvas prints. Wedding photography is a complex mix of technical ability and artistic sensibility. Melbourne's vibrant locations and cosmopolitan celebrations inspire photographers around the city. Their knowledge and imagination help couples to create lifelong memories from brief events, therefore providing a priceless record of their big day. Every picture, from the excitement of a Mehndi ceremony to the grace of a garden wedding to the romanticism of a seaside celebration, becomes a chapter in a couple's particular love story.

[brightonposters]

Exploring the Artistic Wonders: Posters That Inspire and Transform Spaces

The Magic of Movies Posters

Movies have an unmatched ability to transport audiences into different realms, stirring emotions and sparking imagination. Movies posters serve as windows into these worlds, capturing the essence of a film in a single frame. Whether it’s a classic cinema masterpiece or the latest blockbuster, movie posters are iconic memorabilia for fans. Imagine showcasing a vintage movie poster in your living room—it’s not just decor but a conversation starter. They also make wonderful gifts for cinephiles who appreciate the art of filmmaking.

Studio Ghibli Posters: A Whimsical Journey

For fans of Japanese animation, Studio Ghibli poster are a treasure trove of whimsy and charm. Studio Ghibli, the renowned animation studio, has created timeless films like Spirited Away, My Neighbor Totoro, and Howl's Moving Castle. The posters inspired by these films are as magical as the movies themselves. They capture the intricate details, enchanting characters, and ethereal landscapes that define Ghibli’s artistry. Adding a Studio Ghibli poster to your space brings a touch of fantasy and nostalgia, perfect for dreamers and animation enthusiasts alike.

Greek Mythology Artwork: Timeless Tales on Your Walls

Art inspired by Greek mythology offers a unique blend of history, culture, and storytelling. These masterpieces often depict legendary gods, heroes, and mythical creatures, weaving tales of love, power, and courage. Greek mythology artwork posters are ideal for those who admire classical themes and bold visuals. Whether it’s Zeus wielding his thunderbolt or Athena exuding wisdom and strength, these artworks infuse a sense of grandeur into any room. They’re particularly popular among lovers of ancient history and mythology.

Travel Posters: Ignite Your Wanderlust

For adventurers at heart, travel posters are a gateway to the world. Featuring iconic landmarks, scenic vistas, and cultural motifs, these posters evoke the beauty and diversity of global destinations. Whether you dream of exploring the romantic streets of Paris, the vibrant beaches of Bali, or the rugged landscapes of Iceland, travel posters serve as daily reminders of your wanderlust. They are perfect for home offices, bedrooms, or even travel agency spaces, inspiring journeys yet to come.

Decorating Tips for Poster Enthusiasts

Decorating with posters isn’t just about picking your favorite themes—it’s about creating harmony within your space. Here are some tips:

Choose the Right Frames: A well-chosen frame can enhance the visual appeal of your poster while protecting it from wear and tear.

Experiment with Layouts: Consider creating a gallery wall by mixing and matching different poster themes and sizes.

Pair with Complementary Decor: Use lighting, furniture, and accents that align with the poster’s colors and vibe.

Why Posters Are Perfect for Any Space

Posters offer unparalleled versatility. Whether you want to personalize your bedroom, liven up your workspace, or add character to a dull hallway, they’re a cost-effective yet impactful solution. They allow you to showcase your unique interests and personality without committing to expensive art pieces or permanent decor changes.

Brighton Posters offers a diverse collection of high-quality posters tailored to suit every taste. From movie aficionados to art lovers, there’s something for everyone to explore. Elevate your spaces with posters that inspire, spark joy, and tell your story.

[daggerzine]

Snowgoose- Descendant (Violette Records)

Snowgoose, the Scottish duo of Anna Sheard(vocals) and Jim McCulloch(guitar), are releasing their third album, Descendant. A who’s who of incredible Scottish artists join them this time around. Check out this lineup: guitarist Raymond McGinley (Teenage Fanclub), keyboard player Chris Geddes (Belle & Sebastian), bass player Stevie Jones (Arab Strap), pedal steel guitarist Tim Davidson (Tracyanne & Danny), drummer Stuart Kidd (BMX Bandits), and percussionist Adam Stearns (Trembling Bells). “Better Listen” kicks off the album. It’s also the first single. Not sure if seeing Carole King’s Beautiful recently triggered this, but it’s got a “Sweet Seasons” vibe to it. Nothing wrong with that. Anna’s beautiful vocals over a dreamy song sets the stage for a great album. Here’s the video:

Next up, “Salix” is a bluesy number with nice percussion. Love the gorgeous chorus, " Happy and waiting, willow willow. Anticipating, willow willow. Without any warning, willow willow. A new strike is dawning, willow willow." Track 3, “The Fall,” highlighted by the organ and a blistering guitar solo, shares a deep, emotional, somber song. Next, “Down the Line,” features repetitive, but beautiful keyboards with trumpets. It's another favorite that's borderline jazz. Track 5, “Good Medicine,” highlights Anna’s singing in a bluesy way. The chorus will have you screaming along, "Got me good medicine. I didn’t take it before. Got me good medicine. Now I’m begging for more." “Sorrow,” despite the title, is a bouncy borderline country and western number that features jangly guitar, trickling keyboards, and a solid rhythm section. “Bewildered Dance” is an eerie waltz that showcases Anna’s soaring vocals and Davidson's pedal steel playing. It's a song Renaissance could've easily composed back in their heyday. "We can see, we can dream. In this dance. I just can’t seem to understand. The way you go with this heavy load. How can I ever understand? The way you go." Track 8, “Fugue State,” is a short, moving instrumental complete with Anna’s “oohs and aahs” that could easily fit on a movie soundtrack. “Call For Peace” is exactly what the title states. In our world filled with wars, Snowgoose is doing anything it can to stop the bloodshed. “Your callous mind attempts to fool us all. Swept aside, ignored the signs of conflict. Hope in silence, you may hear our shalom.” The title track, and 2nd single, “Descendant,” is another favorite. As the drums kick in with delicate keyboards and soaring vocal harmonies, it’s an easy one you’ll want to sing along with, ”Change of the season. I’m lost for good reason. Going out of my mind. It’s assuring my time.” Here’s the video:

The album closes with “Wings of Glory” coming full circle with the Carole King sound. It's another beautiful piano-driven ballad with touches of pedal steel that sparkles the heart. I'll cast my vote to make this the 3rd single. Now, the only issue is that the album is over. Anna says it all here: "Descendant explores the delicate interplay between the joys of love and the inevitability of loss. Each song navigates the complex emotions that connect these experiences, serving as a reflection on the beauty and pain of impermanence."

UK Tour Live Performances: Acoustic Co-Headline Shows with Eugene Kelly(!): 18th October - Central Bar, Gateshead 19th October - Art Bank, Shepton Mallet 20th October - The Waiting Rooms, London (matinee show) 21st October - The Prince Albert, Brighton 22nd October - Leaf, Bold Street, Liverpool

Here’s hoping Snowgoose can tour this album in the US. ERIC EGGLESON

[mitchell-smith-art]

ABOUT

BIO

I am an artist from Torbay, Devon and I'm currently based in Brighton, UK. My work spans across all mediums, from painting, to sculpture, performance & tattooing. I studied a BA in Fine Arts in Bristol & an MFA at Wimbledon College of Arts, graduating in 2019. I've worked in several art galleries such as Bernard Jacobson, Newport Street (Damien Hirst) and am a founder of Uncovered Collective, which is a group of creatives who hold exhibitions for emerging artists. Currently I mostly create handpoke (stick and poke) tattoos, from a private studio space in South London. I also work in SEO. I also have a food blog: Brighton Bites Back and am part of Uncovered Collective.

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ARTIST STATEMENT

My practice is an investigation through various media. Generally, my motivation to create comes from an attempt to define my moral and political identity against the social landscape.

I am currently focusing on developing my SEO career further.

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EDUCATION

MFA  2017 - 2019 - Wimbledon College of Art, UAL, London

​BA (Hons)  2014 - 2017 - University of the West of England, Bristol

​Foundation Diploma in Fine Art  2013 - 2014 - South Devon College, South West

​Tattoo Apprentice  2012 - 2013 - Revolver Tattoo Rooms, Torquay

​BTEC in Fine Art (lvl 3).  2010 - 2012 - South Devon College, South West 

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AWARDS

​UAL Vice-Chancellor Scholarship  2017-2019

​The Empringham Prize for Engagement  2017

​The Degree Show Prize  2017

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MEDIA

the Horizon Magazine - issue3 Subject LDN

Vicious Circle (Art number 23)

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COVER ART

Idles - Mother - 7" - (artwork: SHE, 2017)

Splurge - Dopey - Album cover - (artwork: Sunflowers in mince, 2018)

PODCAST​S

What Is Your Working Class? - (hosted by Aidan Teplitzky)

Bitesize B2B Marketing - (Co-host)

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MERCH

Monk Audio T-shirt design

Spaced Digital T-shirt design

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STREET ART

bbc.co.uk/news/uk-england-devon-25228679/ /splash-colour-walls-hill-shelter-thoughts/

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MUSIC

Foxhol - Worm/Wyrm (lyric video)

Foxhol - Statecide (music video)

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EXHIBITIONS

11. 2021 - Vertical Merger - Uncovered Collective - Woolwich, London

10.2020 - Emergent Vision - Uncovered Collective - Peckham, London

8.2020 - Gods, Devils & Software Engineers - Deptford Does Art, London 

12.2019 - Vicious Circle - The Old Biscuit Factory, London 06.2019 - MFA Fine Art Show - Wimbledon College of Arts, London  2.2019 - Postopia - Uncovered Collective - Ugly Duck, London

10.2018 - Who Will Provide? - The Crypt Gallery, St Pancras, London

9.2018 - The Great Divide - Ovada Warehouse Gallery, Oxford

8.2018 - FEMzine presents FEMfestival - Stour Space, London

2.2018 - CONFLICT - Chelsea College of Arts, London

5.2017 - ‘Eleventh’ Degree Show - UWE studios, Spike Island, Bristol

8.2016 - Parallels - The Island, Bristol

10.2015 - Seriously Dad it’s Art - Spike Island, Bristol

8.2013 - The Great Big Rhino Project - (Charity auction) - Paignton Zoo, Torre Abbey

7.2013 - Young Artists Exhibition - Spanish Barn, Torre Abbey, Devon

[banethebloodgoat]

3, 4, 40

When I was much younger, I went to the local elementary school because it was the closest to my house (on the same street too) and I was a bit too young to realize it back then, but it fucking SUCKED.

Here's the ONLY three things I remember/know about that aren't happy memories (my mind blocked out the rest)

Once in math class, I did something - don't remember what - and my teacher put me on the spinny chair away from the other students to do "solo math" or something like that. I had to do this for, idk, two? Three days? And I learned absolutely NOTHING.

this one is blocked out of my memory because it was traumatic. We were at an assembly and I accidentally wacked another girl with my arm. Next thing you know, the principal is yelling at me and I'm bawling my eyes out. I only know this because my mother told me about it at some point this year, because she was there, but she couldn't take me home even if she wanted too because it was during school hours.

At one of the smaller school playgrounds, my older sister accidentally hit my head with her foot. Idk much about that one but I remember putting a paper towel soaked with water on my head and getting yelled at by a teacher (or the teacher was yelling at someone else, I don't remember) because apparently I had "warm water" on my injury. The water was cold.

There's actually a few articles you could find online about that school and the terrible principle, mostly about how she bullied the teachers AND the students.

End of my rant.

If you can look/listen to the art WITHOUT the artist getting money, then yes, you can separate it (I'm talking about when an artist is problematic *cough* the Brighton biter *cough*) but if it's music, then you should probably just listen to covers instead.

𝓕𝓻𝓮𝓪𝓴𝔂 Sam