#Velocity Signature Series

[carsthatnevermadeitetc]

Velocity Signature Series Mustang Convertible, 2024. The Florida-based specialist tuner has added a convertible to their first generation Mustang Signature Series restomod range. The work includes fitting a contemporary 460hp 5.0 litre Coyote V8 with six-speed manual or 10-speed auto gearboxes. There's also new rack and pinion steering and a four-link rear axle with upgraded brakes, 17 inch wheels and a redesigned convertible top.

[sea-buns]

Forgive me if I'm a bit nervous about Gorgug this season. It's just that the last Zac Oyama pc was Colin Provolone, who was arguably one of his greatest D20 performances, if not the greatest.

Zac always does great with every pc he plays, but Colin was something else. He came out swinging with actions and words that were teeming with unspoken emotional baggage. The way Colin's presence affected the other pcs; there was this level of depth that I don't think I've seen in any of his other characters. It was understated and quiet in that signature "just a guy" way that he tends to be, while still captivating everyone instantly with just how raw it was.

Not to say we haven't seen emotional depth in Gorgug. It's just that, compared to the other Bad Kids, Gorgug's journey and progression as a character has been very... impersonal? Like, yes, he found his birth parents, and he found friends who appreciate him, and he faced his insecurities about his intelligence, and he navigated relationship troubles, and his trial through the claustrophobic bug-tunnels was a horrifically-uncanny parallel to how he's spent his entire life trying to make himself as small as possible.

But how much of that has actually changed him from the Gorgug we started with? I would agree that he's definitely happier with his life, given all the loving and supportive people that have been added to it when it used to be just him and his parents. And he's certainly grown into himself and become more self-assured in his abilities, even if he's still, and always will be, our anxious little guy. And there's nothing wrong with that. I've always liked how Gorgug was a representation of all the little things. The subtle acts and kindnesses that don't seem like much to most, but to some are everything.

We don't need another Bad Kid living in fear that their mouth could be shit-in at any moment. We've already got one-too-many.

All that being said, I just feel like Gorgug's personal story beats are much easier to sweep under the rug than everyone else's. He has the same soft and understated quality that Colin held, but they lack that extra oomph that pushed Colin over the edge from being just another guy in a series of dudes, to a character that the vast majority of us could not get out of our heads. He took someone who was anxious and softspoken, who ultimately never wanted to be violent— someone who is remarkably similar to Gorgug in many ways— and maintained that demeanor and core in Colin's character while still hitting us in the feels with character development at max velocity at every turn.

I think Zac gets better and better at this with every season that goes by. With each new character, there is always something that leaves me stunned in awe. And it's been, what, three? Four years since we last saw Gorgug?

I'm just,,, I'm cautiously optimistic but also going into a bit of a worry about what violence this man may inflict upon us

[skellymom]

Posted 10/31/23

Chapter 4-The Finale!

The BAD BATCH Mini Series HALLOWEEN Fan Fic

"The Tale of the Dathomir Witch

To read Chapter 3:

https://www.tumblr.com/skellymom/732696093237870592/the-bad-batch-mini-series-halloween-fan-fic?source=share

(Credit for awesome Halloween BB dividers goes to: stars-n-spice!)

Things go CRAZY while The Batch tries to end Darth Sidious! The tide will turn...and familiar faces show up!!!

SWEET REVENGE IS SERVED TO SIDIOUS IN THIS CHAPTER!!!!

All Ages HOWEVER there is some violence, so BEWARE my 13-17 year old readers!: Mentions of canon Star Wars Empire badness, crying, blood, cutting wound, villain using the Force to crush someone's heart, villain snapping a neck (bloodlessly) star wars swearing, the "S" swear word, and some supernatural revenge at the end of this tale!

Word count: 2.9K

“Start a Riot” by Beginners: https://www.youtube.com/watch?v=WRa9XSVrblI 

With no more troopers in their way, Hunter and Echo ran to the doors. Echo removed his mechanical hand, holstered it, and snapped in his scomp. He inserted it into the lock furiously trying to open the doors. Hunter slid his vibro knife into its sheath, drew his second weapon and trained both blasters on the hallway behind them. 

Imps rounded the corner and were picked off by Hunter’s blaster fire. The doors opened a few inches with Echo’s ministrations, then slammed shut again. A string of profanity left Echo’s lips and he sweated furiously while trying to concentrate on breaking through the locking mechanism. Hunter covered him with blaster fire, but it was getting more and more difficult to do so as more troopers rounded the corner. The doors opened briefly and slammed shut again. 

“DANK FERRIK! Hunter, they won’t stay open long enough. Next time they open wide enough, you go through QUICKLY. But ONLY when I say so!!!” Echo yelled through the blaster fire. 

“Noted!!!” Hunter replied. 

Echo concentrated, scomp rotating back and forth. The doors shook and slowly opened again. Echo could feel them fight his scomp to slam shut. He shoved his scomp in deeper to try to hold them open. 

“HUNTER, NOW!!!” 

Hunter pivoted quickly and dove through the opening. As the doors slammed shut behind him, he could hear Echo’s screams of agony as he was hit by multiple blaster bolts. 

************************************************************************

At that same instant Tech heard a voice inside his head. It was clearly NOT his own inner voice. “Leave NOW!” He stopped; eyes wide in total disbelief. 

“Wrecker, HOLD ON!” Tech fired up the Marauder, engaged the afterburner, and PUNCHED it out of Docking Bay 3. A squad of Imps screamed as they got caught in the ship's fiery exhaust. 

Wrecker barely had time to register as the Marauder lurched forward violently. His large frame slammed into the tail gunner’s steering wheel and sent multiple cannon fire shots into the floor of the bay as they ascended...then through the outer top of the ship as the Marauder exited. His face squished against the tail gunner windscreen while the force of the ship's velocity held him there, chest still pressed up against the firing mechanism. Wrecker watched as Docking Bay 3 collapsed onto itself and exploded. He hoped with everything in him that Hunter, Echo...and Crosshair would be safe. 

Several Imperial Tie Fighters followed in hot pursuit. Wrecker’s chest was still doing the firing while he tried to peel himself off the tail gun windscreen. Tech clearly had the Marauder on full throttle for this escape. 

“Wrecker, keep those Imperial fighters occupied! I’m putting in co-ordinates for the hyperspace jump!!!” 

“I’M TRYIN’!!! 

Tech gritted his teeth and tried NOT to think about leaving his brothers behind. His leg bounced manically while he punched in co-ordinates for the blue-green planet Old Daka had given. Then he loaded the scrambling signature to cover their tracks. 

“Wrecker!” 

“WHAAAAAAT!!!” He had FINALLY pulled himself off the windscreen. “What NOW???” 

“Jump in 3...2...1!!!” Tech warned. 

“AAAAAAAAAAAAHHHH!!!!!!” Wrecker slammed back into the windscreen as the Marauder made the jump successfully. 

************************************************************************

“Cold Blood” by Valen: https://www.youtube.com/watch?v=LZozhNENHy4 

Hunter tucked and rolled into Darth Sidious’ room. He came up firing, felling several stormtroopers who awaited his entrance. He could see Sidious torturing Old Daka with Force Lightning. She looked much weaker than when she exited the Marauder, but still chanting in an ancient tongue. A rift in the air was starting to form behind her, as the lightning entered and exited her body into it.  

He looked sharp, dual wielding blasters, and aimed at anyone who dared advance. Hunter noticed Sidious had a huge number of troopers around him. And his lap dog Darth Vader at The Dark Lord’s Side.  Hunter was vastly outnumbered in that huge room with a side entrance so that reinforcements could file in as needed. They all had their blasters trained on him. Hunter also noticed small circular mirrors placed around the walls... 

...a lone blaster shot rang out. Hunter stood his ground and didn’t move a muscle. The laser bolt bounced around the room, killing a good number of Imps. 

Sidious stopped torturing Old Daka. He turned to see the troops entrusted to his defense struck down. With the Force he sensed and turned to face the source: Crosshair removing his helmet looking Darth Sidious right in the eye with an angry defiant scowl. 

A collective gasp came over the remaining stormtroopers in the room. They were all very aware of Crosshair’s allegiance to The Empire. To see him rebel shocked them, and shook some of them up. 

“I NEVER did care for YOUR kind.” Sidious hissed. “CLONES!” He spat. “Think your act of heroism will redeem you? Or save your brother?” He chuckled and grinned. Ruined teeth in a ruined head. 

Vader’s mind recalled old memories of long ago...serving with clones...serving with THESE clones...but there were others. Memories flooded back to him...somebody named Rex? There were the others...what were their names??? 

Crosshair aimed Firepuncher toward Sidious. He really didn’t think he had a chance at killing the Sith Lord, but at this point it was worth a try. What did he have to lose. Crosshair was willing to die with all the horrible things he had done after leaving The Batch. 

Unfortunately, Sidious wouldn’t let it go down that easily. When Cross pulled the trigger, Firepuncher didn’t discharge. Sidious laughed, then reached out and Force grabbed Hunter, slamming him into the wall and holding him there. 

“YOUR weakness is your HEART” He addressed Hunter. "Such an easy thing to destroy.” Hunter dropped his blasters and held his chest. Sidious slowly started crushing Hunter’s heart. He screamed in agony and kicked the wall furiously.  

Then Sidious addressed Crosshair. “Watch your brother die before your eyes, CLONE!” 

Horrible sounds were coming from Hunter as the Sith crushed him. Crosshair screamed and threw his ineffective rifle at Sidious. It was Force blocked and tossed aside. Then the Sith released Hunter letting him fall onto the ground in a heap. 

A stormtrooper doubled over, holding his stomach, and made retching noises inside his helmet. 

Crosshair ran to his brother, knelt and put Hunter’s head in his lap. 

Hunter barely managed to speak. “I’m...sorry...” 

Cross sassed back, but with utter grief on his face. “Hush Hunter.  There’s no need to apologize.”   

He searched Hunter’s glassy eyes. They stared far off somewhere he couldn’t see... 

“SPARE ME!” With utter disgust Darth Sidious reached out with the Force and snapped Crosshair’s neck. His dead body fell over his brother. Sidious then turned his attention back to torturing Old Daka again. 

************************************************************************

“Angels Among Demons” by Instrumental Core: https://www.youtube.com/watch?v=k3ecg2mahps 

Hunter and Crosshair laid there for a few moments. 

They both heard someone approaching. Calling their name.  Someone familiar. 

Cross rolled over and looked up.  Hunter stared past Cross’ shoulder. 

Jesse was standing there next to them, a huge smile on his face.  “Welcome, Vod!” 

“WHAT???”  Both Hunter and Crosshair exclaimed simultaneously.   

Hunter followed up “Didn’t you go down with The Tribunal right after Order 66???” 

Jesse inhaled sharply and rubbed the back of his neck “Well...about that...” 

************************************************************************

Old Daka grimaced with the onslaught of Force Lightning against her back.  The Transference Spell was wearing thin.  Instead of passing though her to open the veil, she was absorbing more of it.  The pain was unbearable, and she was growing weaker.  It was getting more difficult to pull open the veil wider.  She could see the fabric of time-space bulging, starting to separate at the seams, but it wasn’t enough. 

“I see you are succumbing to The Power of the Dark Side, Old Woman!”  Sidious leered with pleasure at her agony. 

“Hardly, you nasty worm!”  Daka shot back.  She wouldn’t give him the satisfaction of admitting how painful this was.  “Old Daka’s still a STRONG Night Sister.” 

Sidious shot her with another round of Force Lightning.  Maker, she was going to need some help.  She fell to her hands and knees. 

Sidious howled with gleeful malice.  He rose from his throne and signaled to the remaining troopers to fall back and hold fire.  Vader stood in front of them, watching it all play out. 

Daka spied Hunter and Crosshair’s dead bodies several feet away.  She crawled slowly to them. 

“Tsk...look at you, reduced to crawling on your hands and knees.  You cannot escape my wrath, witch!”  Sidious slowly approached Old Daka relishing her helplessness. 

Daka reached out and yanked Hunter’s vibroblade from its sheath.  She glanced up to Sidious, who was now standing almost over her. 

“You dare think you can injure a powerful Sith such as I with that tiny weapon?  Give up, old woman, I clearly have the high ground.” 

Old Daka slowly stood with immense effort.  She looked Sidious right in the eye.  With the last of her strength, she traced the blade over the artery in her neck and across her heart.  The arterial spray hit Sidious across the face, but it didn’t dampen his terrifyingly hideous smile.  Rather, enhanced it, now highlighted in crimson red. Daka turned and managed to take one step away from her assailant. 

The stormtroopers, used to seeing clean cauterized deaths, gasped at the carnage and looked around at each other.  One took off his helmet and dropped it to the ground.  His young eyes wide and tearing up. 

“Come now...I cannot let you escape in death, can I?  At least not without me serving THE FINAL BLOW!”  

Vader stumbled backwards, bumping into the stormtrooper behind him.  The trooper, who was paying attention to the horrifying scene in front of him, squawked fearing Vader’s wrath.  The Dark Lord paid the trooper no mind, as this all felt...so wrong...SO, SO WRONG!  The Force tearing at his mind, dredging up painful memories. 

Sidious raised his hands and shot Daka with larger bolts of Force Lightening, lifting her off her feet and away like a rag doll.  Old Daka perished...but not before screaming out one last incantation and stabbing the bloodied enchanted vibroblade into the space-time rift. 

It ripped wide open as Old Daka fell dead upon the floor and...  

...Tup and Fives spilled out through The Veil.  The clones looked at Sidious, with bared teeth and clenched their fists in seething anger. 

Sidious stopped and looked upon them in horror.  He hadn’t anticipated the Night Witch to successfully cut open the veil between the living and the dead.  Of course, he hadn’t done his homework and plotted the thinnest day belonging to The Wheel of the Standard Cycle! 

Vader fell to his knees.  He didn’t think it possible. 

Sidious let loose a barrage of Force Lightening at the two clones.  It passed through them like nothing and split the hole even wider.  Hunter stepped out.  Crosshair followed.  Sidious’s eyes bugged from his head.  The stormtroopers turned tail and ran, pushing and trampling each other to get away from the ghosts coming back from the dead.   

Something broke in the young stormtrooper.  He raised his blaster screaming, tears streaming down his face and squeezed off several shots at Sidious.  Sidious, sensing this, raised his hand to strike the youth down... 

...and was Force blocked by Darth Vader...still on his knees.  The blaster shots hit Sidious in the arm, leg and his chair.  He went down screaming. 

“YOU INSOLENT SHITS!  YOU’LL ALL FEEL THE WRATH OF MY POWER!!!”  The pain, anger, hate...all the horrible dark evil intent on crushing anything in the way of his attainment of unlimited power was on full display. 

Echo stepped out of the veil.  He looked back into it motioning “ALL RIGHT EVERYONE! LET’S GO!!!” 

The veil burst wide:  Clones, Jedi, Younglings, Twi’lek, Nomaadi, Wookies, Mandalorian, Rebels, and many more who were causalities of the Empire and the machinations of Darth Sidious appeared.  They flooded through the veil and advanced on the now immobilized Dark Lord.  They passed by Vader and the young stormtrooper, filling the room, reaching out for Sidious.   

Sidious, still screaming full of fear and rage impotently struck out with his Force Lightening to its full potential.  It accomplished nothing.  Vader shielded himself and the trooper.  The horde of souls descended upon Sidious, reaching into his body, pulling free the ghost within the twisted man.  His physical shell fell over onto the floor, eyes rolled up into its head.  The screaming continued, but not from Sidious’ corporeal body.  His Force Ghost was passed along like some grisly postmortem spiritual crowd surfing.  Every hand that touched him pulled a little more power from him, rendering Sidious weak and even more dreadful looking than before. 

He was shoved into the opening of the veil where more hands awaited him.  The unholy screaming continued as he passed from the physical world to the spiritual one.  Souls carrying him to his eternal punishment. 

“The Gravity of Love” by Enigma: https://www.youtube.com/watch?v=MExoMS5uHnk&list=RDGMEMQ1dJ7wXfLlqCjwV0xfSNbA&index=5 

The room slowly emptied as the crowd stepped back into the veil.  Soon only Tup, Fives, Echo, Crosshair, and Hunter were left.  They turned and looked at Darth Vader and the stormtrooper by his side.  Vader cowered and the trooper stood in disbelief. 

“What about them?” Echo inquired 

“Oh...they have another path.” Fives winked. 

Tup added, “Yeah, no need to bother.” 

Jesse stuck his head out, “What’s taking you all so long?  Your brothers are waiting!” 

Fives grabbed Echo’s hand and took off into the rift.  Tup ran after them. 

Crosshair stepped into the rift and looked over the Hunter, “Coming?” 

“In a minute.” 

“Suit yourself, vod.” Cross inserted a ghost toothpick into his mouth and disappeared. 

Hunter stared at Vader and narrowed his eyes, “General Skywalker.”   

Vader looked up at Hunter, amazed the clone figured it out. 

Hunter leaned in close to Vader, almost touching his nose to his mask.  His voice deep.  “Lost two brothers and a sister to turn the tide on this Empire situation.  Whatever you do from here on out...MAKE IT RIGHT.  AND MAKE IT STICK!”   

Vader weakly nodded. 

Hunter gave him his most feral dad expression before stepping into the veil and vanishing. 

The room was quiet.  Vader still upon his knees. 

“Ani?” 

Vader looked up.  Padme Amidala stood next to the breach in the veil. 

“Padme???”  Vader’s voice softened. 

As she stepped toward him, Vader disconnected the life support seal on his helmet and opened it up. 

“Have you come to take me with you?”  Tears ran down his face. 

Padme stopped in front of Anakin “Oh Ani...no. It’s not your time yet.” 

Anakin's face fell and he sobbed.  “I’m so sorry...the things I did to you...to so many...” 

“You have a lot of work to do, Ani.  The galaxy needs help putting things right.  It will be difficult, but you are left with the power to change things for the better.” 

“They’ll hate me, Padme.  I tortured and killed people...destroyed so many homes, families...” 

“Ani, you won’t be alone.  Obi-Wan is still alive.  So is Ashoka Tano” 

Anakin’s eyes widened. 

“Yes, you will have to face the repercussions of your actions.  Other surviving Jedi: Yoda, Quinlan Vos, Shaak Ti will preside over your trial.  You’ll need to be strong, Ani.  Perhaps they will decide that your punishment will be to rebuild what was broken?” 

“Perhaps...I hope...” 

“Obi-Wan is expecting you.  On Tatooine.  He will help you...and help find our children.  Take good care of them for me, Ani?  Will you do that?” 

“Anything for you, Padme...I love you.”  More tears. 

“I love you too, Ani.” 

Padme looked up and addressed the young stormtrooper.  “Please help him get off this ship.  Make sure he gets to Tatooine safely.  You also have a bright future ahead...AFTER facing the consequences of your actions.”  

The stormtrooper nodded wide eyed. 

Padme walked to the opening in the veil and turned to them, “May the Force be with you both.” 

With that she was gone. 

Anakin closed his mask and engaged the life support seal.  He slowly rose to his feet, then turned to the young stormtrooper.  “What is your name?  How old are you?” 

The young stormtrooper was clearly terrified...and confused. 

“I’m Anakin Skywalker.  And I promise not to hurt you.” 

“Jebith...Jebith Freed.  Fourteen Standard Cycles old...sir.”  The age Ashoka Tano was when she joined as his padawan.  A child. 

“Well, Jebith, looks like we have a lot ahead of us.  Are you ready?” 

************************************************************************

“All Soul’s Night” by Loreena McKennitt: https://www.youtube.com/watch?v=RooTTuLCfNM 

“And... that is The Tale of The Dathomir Witch.” 

There was a hush from the group around the bonfire. 

“So that’s why we celebrate The Thin-Veil Time?” 

“Yes, Little One.  We Night Sisters lead The Parade and make Pilgrimage to the Memorial Garden to care for it.  Many all over the galaxy joined the Pilgrimage to leave offerings as thanks for freeing them.  As the galaxy healed from unrest and adjustment after Sidious’s absence, more arrived every year.” 

The child stared into the forest.  Plasma candles lit piles of gifts, flowers, and holo tributes arranged around graves with five helmets, each with names written across the top...and one missing a helmet. 

“On this night, we remind those that visit The Memorial: 

If you see The Keen Man 

He will lead away you from trouble 

If you see The Clever Man 

He will help solve your predicament 

If you see The Strong Man 

He will soothe your grief 

If you see The Unbroken Man 

He will open doors closed to you 

If you see The Eye Man 

He will remind you an outlook can change 

These are helper spirits 

If they seek you, trust in them 

For death is not terrifying, nor final 

Grandmother Daka blesses you this night 

May The Force Be With You” 

“Why are you crying?  Are you sad???” 

“No child, just remembering loved ones tonight.  They are tears of gratitude.” 

The full moon broke free from the dark inky clouds, to shine down upon The Memorial.  Six Force ghosts materialized, as if conjured into presence. 

“Thank you...I love you all.” 

“Happy Halloween, Gran-momma Omega.” chirped the littlest little one. 

“Happy Halloween, Love.” Omega cackled 

To my readers:

Blessed Samhain, Dias de los Muertos, and Happy Halloween! 

PLEASE like, comment, and/or REBLOG!

IF YOU WISH TO BE ADDED OR DROPPED FROM MY TAG LIST, PLEASE MESSAGE ME! Don't just comment as I might miss it. Thanks!!! <3

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[forgeline]

Ready to order. Velocity Restorations is ready to build more of these Signature Series Street Edition 1968 Ford F100 trucks for anyone who can cough up the cash. It's powered by a 460HP Ford Performance Gen III 5.0L Coyote V8 mated to a Ford 10R80 automatic transmission and rides on a Roadster Shop SPEC chassis, Fox coilovers, Baer brakes, 255/45ZR19 & 295/40ZR20 Michelin Pilot Sport 4 SUV tires, and 19x8.5/20x10 Forgeline forged three piece SE3C wheels finished with Gunmetal centers & Polished outers! See more at: https://forgeline.com/customer-gallery/velocity-restorations

🇺🇸🇺🇸🇺🇸

[anhed-nia]

BLOGTOBER 10/10/2021: CREEPSHOW

There is so much to say about this deceptively simple movie, I don't know if I can even cover it all—but hopefully I'll be able to point in the general direction of its broad borders. CREEPSHOW looks to be just a fun gimmick: an anthology movie by two life-long fans of EC Comics that emulates the format with a collection of five horror shorts and a wrap story featuring a Cryptkeeper-like ghoul. The production is vividly colorful and includes graphic, hand-drawn frames-within-frames that refer directly to the aesthetic of comic books like Tales from the Crypt. The tone of the stories is similarly faithful to the source; in each one, people corrupted by their peccadilloes meet with an ironic comeuppance at the hands of the natural or the supernatural, their lives ending with a disturbing yet funny punchline. CREEPSHOW is not the earliest screen adaptation of horror comics, and it hasn't been the last, but it may be the only iteration that imitates the EC brand, while also evoking the cultural atmosphere that surrounded those books when they were new and highly controversial.

George Romero has made a lot of movies in different styles, from his quiet psychodramas with their touches of magic realism, to the grimy, gory apocalypse of his LIVING DEAD series, to…well, the feverish cartoon reality of CREEPSHOW. The chief connecting thread throughout Romero's filmography is the paranoia and alienation of his protagonists. This rings loudest among the survivors of the zombie plague, but it is equally present in the pseudo-vampiric melodrama of MARTIN, and the Stepford-like social satire of SEASON OF THE WITCH. It makes sense that a horror giant like Romero would have such a strong feeling for marginalization, when you consider that he grew up in an era where all of society's ills were being blamed on the horror movies and comics that he loved. However broadly, CREEPSHOW delivers a strong vision of childhood in a world where adults could not be trusted: They could be cruel, ignorant, selfish, and censuring, all the while hypocritically pawning off their culpability on the media that provided children with a welcome escape.

The film begins with a turbulent domestic situation in which young monster kid Billy (Stephen King's son Joe Hill) is threatened and demeaned by his father (Tom Atkins), who focuses his wrath especially on Billy's beloved comic book collection. The scene is as exaggeratedly pulpy as anything in the movie, yet it hums with an emotional intensity that prevents the viewer from dismissing it as pure pastiche. The shorts the ensue are also full of characters who are threatened by those who are supposed to love them: Parents, children, and spouses are all equally threatening, creating an undercurrent of isolation and disappointment that flows beneath the outrageous, blackly comic horror that prevails. Stephen King's screenplay deftly balances humor and terror to keep things fun and exciting, but Romero's signature despair is branded on every segment.

But about Stephen King, for a moment: The weakest piece of the film is "The Lonesome Death of Jordy Verrill," in which King himself plays a gawping hillbilly who gets infected with a ravaging moss from outer space. I actually have a gripe about King that I don't hear from others as much as I think I should, which is that he presents himself as this man of the people, yet his stories are often populated by almost minstrel-like caricatures of poor, rural, working-class individuals—often surrounding a protagonist who has reached escape velocity from his rustic home town and is working on a respectable literary career. Not that I think it's unreasonable to treat people you love to a certain amount of ribbing, but I question whether King is really as sympathetic as he is accepted to be, and his extra yokelly performance may give you an idea of what I mean. Yeah, sure, this is supposed to be comic book-y, but in the context of many similar bits throughout King's career, it can start to feel pretty condescending.

The dip in quality of "Jordy Verrill" is extra stark when you look at the rest of the cast, which includes multiple Tony and Emmy winners giving first-class performances. Because Romero is so associated with the invention of the modern zombie, and also with Tom Savini's groundbreaking gore effects, sometimes people fail to mention that he was really an actor's director. Romero demonstrated a fine feeling for people right from the start, and even a live-action cartoon like CREEPSHOW displays his emotional sensitivity and his ability to get the best out of his cast. Although a certain cynicism plays out in all of Romero's films, his basic sympathy for humanity is what makes his work effectively tragic, rather than judgmental and nasty.

CREEPSHOW may not warm your heart as it chills your bones, but it is likely to make you feel something deeper and more powerful than you might expect from a garden variety comic book adaptation, especially one so frankly schticky. And on my closing note, I'd like to say that CREEPSHOW is one of the only movies I've ever seen where the comic book format is evoked, and it doesn't look like complete shit. Almost every time I see a live-action movie using illustration elements for its transitions, they're lazy and awful and it's obvious that the filmmakers wanted to make the hipstery gesture of being comic book-like, without putting an ounce of effort into it or even just trying to make it look nice. The message always seems to be, "We know some people think comics are cool but we have no idea why; we think they're stupid, and we think you're stupid too, but we want your ass in a seat so here ya go, sucker." Mercifully, Romero DOES know what's good about comics, and he serves it up in spades. Just another piece of evidence of his sympathy and respect for humanity, the viewer included.

PS My husband and I re-watched this movie during a trip to Pittsburgh, and we both had super scary nightmares that night, so the mojo is still working. Happy 40th anniversary CREEPSHOW!

[smashlawlai]

Here’s a Super Smash Bros. Lawl moveset for Crash Bandicoot from the Crash Bandicoot series:

Reveal Trailer:

The trailer begins with Mario and Pikachu racing through a jungle-like environment, evoking the Jungle Hijinxs stage. As they approach a wooden crate, it suddenly shakes and bursts open with a flurry of Wumpa Fruit. Mario and Pikachu exchange confused glances before the iconic sounds of Crash Bandicoot’s spinning attack echo through the jungle. Crash bursts onto the screen, spinning wildly and knocking both characters away. The screen flashes: "Crash Crashes the Party!"

Moveset:

Crash is a chaotic and energetic fighter, utilizing his iconic moves like the Spin Attack, jumps, and Wumpa Fruit to overwhelm opponents. He excels at fast-paced combat with a balance between close and mid-range abilities.

Neutral B (Spin Attack):

Description: Crash performs his signature spin attack, dealing damage to anyone in his immediate vicinity. The longer the button is held, the longer Crash spins, but he’ll eventually get dizzy if the attack is held for too long, leaving him vulnerable.

Inspiration: The Spin Attack is Crash’s most iconic move, used to defeat enemies and break crates in the Crash Bandicoot series.

Side B (TNT Crate Toss):

Description: Crash throws a TNT Crate forward. It bounces once and remains on the ground for a few seconds before exploding. Opponents can trigger the explosion by standing near it. Crash can also trigger it early by hitting the crate with a Spin Attack.

Inspiration: Based on the TNT Crates found in the games, which explode after a countdown or when triggered by Crash’s spin.

Down B (Aku Aku Shield):

Description: Crash summons Aku Aku, his protective mask ally, who temporarily shields Crash from damage. Aku Aku will circle Crash for a few seconds, making him invincible for a short period, similar to the effects in the Crash Bandicoot games when Crash collects an Aku Aku mask.

Inspiration: Aku Aku serves as Crash’s protector in the games, giving him temporary invulnerability.

Up B (Jetpack Jump):

Description: Crash activates his jetpack from Crash Bandicoot 2: Cortex Strikes Back, propelling himself upward with high velocity. He can move in any direction for a short period, and any opponents hit by the jetpack’s exhaust take damage.

Inspiration: Crash’s jetpack levels from Crash Bandicoot 2 are used here as a recovery move, offering a mix of control and offense.

Final Smash (N. Brio's Mutant Transformation):

Description: Crash drinks a potion, and suddenly transforms into a large, hulking mutant version of himself, similar to Dr. N. Brio’s transformation in the original Crash Bandicoot. In this form, Crash becomes significantly larger, dealing massive damage with his punches and stomps. The transformation lasts for several seconds, after which he returns to normal.

Inspiration: This is based on the boss battle with Dr. N. Brio, where he mutates into a giant monster.

Taunts:

Up Taunt: Crash pulls out a Wumpa Fruit, tosses it in the air, and catches it in his mouth before giving a big grin.

Side Taunt: Crash does his signature dance, spinning around and doing his goofy arm movements, ending with a thumbs-up.

Down Taunt: Crash pulls out a crate and smashes it with a spin, causing Wumpa Fruit to scatter around him.

Victory Poses:

1. Victory Pose 1: Crash stands on top of a pile of crates, laughing and performing his dance while Aku Aku floats around him.

2. Victory Pose 2: Crash breaks open a crate to reveal a gem inside, holding it up triumphantly as the camera zooms in.

3. Victory Pose 3: Crash rides on the back of Polar (his polar bear buddy), charging toward the screen before jumping off and striking a pose.

Defeat Pose:

Defeat Pose: Crash lies on the ground, flattened, with stars spinning around his head in a dazed state, mimicking his death animation from the games.

[nickigunshops]

Ruger GP100 10mm 3-Inch: A Powerful New Option for Revolver Enthusiasts

The Ruger GP100 has long been celebrated as one of the most robust and reliable revolvers in the market. Known for its exceptional build quality and performance, the GP100 line has become a favorite among both law enforcement and civilian shooters. With the introduction of the ruger gp100 10mm 3 inch, Ruger has added a new dimension to its already impressive lineup, combining the power of the 10mm cartridge with the proven reliability of the GP100 platform.

A Modern Twist on a Classic Design

The GP100 series has always been known for its durability and versatility, designed to handle a range of calibers and shooting conditions. The 10mm cartridge, known for its power and ballistic performance, represents a significant upgrade over the more traditional .357 Magnum chambering found in many GP100 models. The choice of a 3-inch barrel for this model strikes a balance between compactness and performance, making it an ideal choice for both concealed carry and duty use.

The Ruger GP100 10mm 3-Inch maintains the classic features that have made the GP100 famous. It boasts a robust stainless steel construction, ensuring exceptional durability and resistance to the elements. The revolver features Ruger’s signature triple-locking cylinder, which locks into the frame at the front, rear, and bottom, providing enhanced alignment and stability when firing. This feature is crucial for managing the powerful recoil of the 10mm cartridge and ensures consistent accuracy.

Performance and Ergonomics

With its 3-inch barrel, the Ruger GP100 10mm strikes an effective balance between maneuverability and ballistic performance. The shorter barrel length enhances the revolver’s portability, making it suitable for concealed carry while still delivering substantial stopping power. The 10mm cartridge offers significant energy and velocity, which translates into excellent stopping power for self-defense scenarios and effective performance in hunting applications.

The revolver's ergonomics have been thoughtfully designed to provide a comfortable shooting experience. The GP100 10mm features a textured grip that ensures a secure hold even in adverse conditions. The double-action/single-action trigger mechanism provides versatility, allowing shooters to choose between a smooth double-action pull for rapid firing or a precise single-action pull for more accurate shots.

Innovative Features and Customization

One of the standout features of the Ruger GP100 10mm 3-Inch is its adaptability. The revolver comes equipped with an adjustable rear sight and a front sight that can be easily replaced to suit the shooter’s preferences. This level of customization allows users to fine-tune their aiming capabilities based on their shooting needs, whether it be for target practice or defensive scenarios.

The GP100’s design also includes a rugged and easy-to-maintain internal mechanism. The revolver’s cylinder can be easily removed for cleaning and maintenance, ensuring that it remains in peak operational condition over time. This ease of maintenance is a significant advantage for users who rely on their revolvers for regular use.

The Wilson Combat Protector Elite Carbine represents a notable advancement in the realm of revolver technology. By combining the formidable 10mm cartridge with the proven durability and reliability of the GP100 platform, Ruger has created a revolver that caters to a wide range of shooting enthusiasts. Whether for self-defense, hunting, or target shooting, the GP100 10mm 3-Inch stands out as a powerful and versatile option that upholds Ruger's reputation for excellence in firearm manufacturing. For those seeking a revolver that delivers both power and precision, the Ruger GP100 10mm 3-Inch is an exceptional choice that should not be overlooked.

[asade123]

 The Eco-Friendly Choice: The Role of Scrubber Manufacturers in Sustainable Industries

Introduction

In an era where environmental concerns are at the forefront of global discussions, industries are increasingly seeking eco-friendly solutions to reduce their carbon footprint. One vital player in this movement is the scrubber manufacturer, providing innovative pollution control equipment that helps businesses meet stringent environmental regulations while preserving our planet.

Waterman Australia is a leading brand renowned for its exceptional writing instruments and luxurious stationery. With a heritage dating back to 1883, Waterman has consistently delivered exquisite craftsmanship, blending timeless design with cutting-edge technology. Their pens, including the iconic Hemisphere and Expert collections, offer a smooth and effortless writing experience, catering to professionals, creatives, and pen enthusiasts alike. Each piece is meticulously crafted with attention to detail and high-quality materials, ensuring durability and elegance. Whether you seek a signature pen for business or a cherished gift, Waterman's extensive range caters to diverse tastes. Embrace the art of writing with Waterman Australia and elevate every word you put to paper.

How Do FGD Venturi Scrubbers Work?

The principle behind FGD Venturi scrubbers is simple yet highly efficient. Flue gas is forced through a Venturi throat, where it encounters a high-velocity liquid spray. This interaction causes a series of physical and chemical processes that facilitate the removal of pollutants. Particulate matter and acidic gases get absorbed into the liquid droplets, effectively cleansing the flue gas stream.

Understanding Scrubbers

Scrubbers are pollution control devices used in industrial settings to remove harmful pollutants from exhaust gases before they are released into the atmosphere. These pollutants can include sulfur dioxide (SO2), nitrogen oxides (NOx), particulate matter (PM), and various hazardous chemicals. The process involves the interaction of the pollutants with a liquid (usually water) or a reactive substance to neutralize and capture the harmful elements.

The Importance of Scrubbers in Environmental Protection

a. Air Quality Improvement: Scrubbers play a crucial role in improving air quality by drastically reducing harmful emissions from industrial processes. By removing pollutants, scrubbers help mitigate smog formation and prevent adverse effects on human health and the environment.

b. Regulatory Compliance: Many countries have strict environmental regulations governing industrial emissions. Scrubbers enable companies to comply with these regulations and avoid hefty fines or operational shutdowns.

c. Emission Reduction: Scrubbers contribute significantly to lowering greenhouse gas emissions and combating climate change. By removing pollutants at the source, they help reduce the overall carbon footprint of industries.

Types of Scrubbers

a. Wet Scrubbers: These scrubbers use liquid to remove and neutralize pollutants. They are highly effective in removing gases and particulate matter, making them suitable for various industrial applications.

b. Dry Scrubbers: Unlike wet scrubbers, dry scrubbers use dry substances, such as powdered chemicals or limestone, to neutralize pollutants. They are ideal for certain industries where the use of liquid may not be feasible.

c. Hybrid Scrubbers: These combine elements of both wet and dry scrubbers, offering enhanced flexibility and efficiency in emission control.

Scrubber Manufacturers and Sustainability

a. Innovation and Technology: Scrubber manufacturers continuously invest in research and development to improve the efficiency and effectiveness of their products. Advancements in materials and technology have led to more sustainable scrubbers that consume less energy and have a smaller environmental impact.

b. Customization: Each industry has unique emission requirements, and scrubber manufacturers provide tailored solutions to meet these needs. By offering custom designs, manufacturers ensure that businesses use only the resources necessary for their specific emissions treatment.

c. Waste Management: Responsible scrubber manufacturers implement waste management strategies to minimize the environmental impact of their production processes. This includes recycling materials, reducing water consumption, and responsibly disposing of hazardous substances.

Scrubbers and Industry Applications

a. Marine Industry: With increased focus on reducing maritime emissions, scrubbers have become an essential component of ship exhaust systems. They enable vessels to comply with international maritime regulations and reduce sulfur emissions, particularly for vessels that use heavy fuel oil.

b. Power Generation: Power plants, especially those burning coal, produce significant amounts of emissions. Scrubbers are used to capture sulfur dioxide and other pollutants, ensuring cleaner emissions. Please visit my website https://watermanaustralia.com/product/fgd-venturi-scrubbers/     

for more details.

Conclusion

As environmental awareness grows, the role of scrubber manufacturers becomes increasingly vital in enabling sustainable industrial practices. Through their innovation, customized solutions, and dedication to reducing environmental impact, scrubber manufacturers play a key role in the fight against pollution and climate change. By choosing scrubbers for their emission control needs, industries can make a positive contribution to a greener and healthier planet for generations to come.

[pledgetsucceed]

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[brandinglong]

Sonic frontiers ps4

Sonic frontiers ps4 full#

Sonic frontiers ps4 series#

With nothing but a handful of questions and a disembodied voice to guide you, set out to save your friends and the enigmatic inhabitants of the Starfall Islands from a colossal, mechanized threat.

Sonic frontiers ps4 full#

A New Adventure Full of Mystery and Intrigue – Become Sonic and journey to uncover the mysteries of the remains of an ancient civilization plagued by robotic hordes.

Use the all-new battle system and skill tree upgrades to fight strategically, combining moves such as dodges, parries, counters, combos, and the new Cyloop ability to take down mysterious foes and colossal titans.

Cyber-Powered Combat – The Starfall Islands are home to strange creatures Sonic has never encountered before. Sonic Frontiers EXPERIENCE SONIC LIKE NEVER BEFORE Worlds are colliding in Sonic the Hedgehogs newest high-speed adventure In search of the missing Chaos.

Challenge Yourself in Cyber Space – Discover portals scattered across the island and venture into Cyber Space levels through portals scattered across the islands featuring signature 3D platforming at Sonic speeds, packed with challenges to put your skills to the test.

Blaze a trail as you see fit and discover side quests, solve puzzles, scale enormous structures, go fishing, and encounter a friendly face or two along the way…

Unparalleled High-Speed Freedom – Adventure across the Starfall Islands and see what each has to offer at the speed that only Sonic can deliver.

Experience All-New Open Zone Platforming – Race across five massive overworld islands brimming with dense forests, overflowing waterfalls, and sizzling desert landscapes, each with their own unique action-platforming challenges and hidden secrets to uncover. Welcome to the evolution of Sonic games The Digital Deluxe Edition comes with the Explorers Treasure Box, which contains useful items for your adventure.

Jump into adventure, wield the power of the Ancients, and fight to stop these new mysterious foes. Accelerate to new heights and experience the thrill of high-velocity, open-zone platforming freedom as you race across the five massive Starfall Islands. Battle hordes of powerful enemies as you explore a breathtaking world of action, adventure, and mystery. Worlds are colliding in Sonic the Hedgehog’s newest high-speed adventure! In search of the missing Chaos emeralds, Sonic becomes stranded on an ancient island teeming with unusual creatures. Sonic’s adventure is about more than a race to save the universe, it’s a journey of self-discovery and redemption.Sonic Frontiers is an open-world action adventure video game developed by Sonic Team and published by SEGA. This is what its first and brief synopsis says: "a high-octane adventure where the fate of a strange new multiverse rests in his gloved hands. Sonic Prime will consist of 24 episodes and although it has no premiere date, it is expected to arrive in 2022. It already has some first images of Sonic's design and to tell the truth, it doesn't look bad. Become Sonic and journey to uncover the mysteries of the remains of an ancient civilization plagued by robotic. Both producers have promised to stay "faithful to the brand's principles" and anticipate that we will see "the hedgehog's favorite settings and characters". A New Adventure Full of Mystery and Intrigue.

Sonic frontiers ps4 series#

In addition to this new installment, the Sega character is preparing a series for Netflix called Sonic Prime, which will be in three dimensions and will be produced by Wild Brain Studio and Man of Action Entertainment. Nibel Sonic's upcoming series on Netflix "Look forward to seeing everything from world-exclusive gameplay reveals to the first ever hands-on impressions, to interviews with the game's creators and more!" /fou0gat24D Sonic Frontiers will be IGN's next IGN First cover story

[novaviis]

Terminal Velocity Chapter Ten. Immovable Fate

Watercolour Series.

Words: 77k Status: In Progress Rating: Mature Relationship: Dick Grayson/Wally West

Summary: Wally's life is at a crossroads, and so close to everything he's always dreamed of; he's dating his best friend, about to head to University, and saving the world every day as Kid Flash. But just when he's riding high, his whole life seems to come crashing down as his powers begin to attack his body. Everything comes to a head all at once, and when combined with a volatile relationship with his parents, Wally learns that there is only so much one person can take. Luckily, Dick and Barry are there to support him.

Will it be enough to save him?.

Excerpt:

Five more cards popped up from the storm drains as Wally made his way around the city. Like they were finding him, shooting up out of the ground and fluttering down to his feet any time he stopped to take a breath. The last one had even adhered itself to his leg as he ran along the Port of New Orleans looking for anything - hinky. Out of place. Honestly, he was anguishing for a single clue at this point. He’d spent the past half hour just running in circles, trying to conserve energy and speed for when he really needed it - but he didn’t have a whole lot of time left before he was inevitably found out, and he was getting desperate. Between the crowded streets flooded with tourists and the CCTV cameras on nearly every corner, he was having a difficult time remaining covert.

For what seemed like the dozenth time, Wally slowed down enough to skid to a stop in a muddy alley, stagnant water splashing up on his boots. He nearly stumbled as he caught himself on the wall, gritting his teeth against the persistent, electric ache in his chest. Fuck it, he may be trying to save his supply, but he wasn’t going to get very far if he passed out in a dingy alley in the French Quarter. Wally slipped a vial out of a compartment on his glove, popped off the top, and swallowed it all in one go. He shivered, wiping his mouth with the back of his glove. He could feel the liquid oozing down his throat, pooling into his stomach, the effects spreading through his body. Within a few moments of deep breathing and impatient waiting, the pain subsided. When he could finally think straight again, Wally groaned, and pushed the heels of his palms into his eyes, head tilted back against the grimy brick.

That Xanadu was somewhere underground, he was certain. Whether she was leading him into a trap or she had something else planned was up in the air still, but he would have found a way down there by now if he’d been able go online with any of his tech. He could have found blueprints of the city, used his infrared goggled to detect any heat signatures below ground. Instead, he was left working blind. Frustrating didn’t even begin to cover it.

There weren’t many alleys in New Orleans left for him to hide out in. The city was build almost wall to wall in sprawling blocks. He was running out of time, he was running out of options, and he was running out of patience. Generally, he was just running out.

One more, and then we’re wrapping this bad boy up. If you haven’t yet, catch up now. Next one after this is going to be a whole bag of fun. 

[rbrooksdesign]

digital, B&W conversion of #3, “Palm Desert” series, 4-18, 2022, Reginald Brooks

Color vs B&W

It is said that the primary office of color is to distinguish, secondarily to emote.

And the primary office of B&W is to pick out that which hides in the dark (low light). Emotion naturally follows, as well.

The former gives more information as the energy signature(s) include(s) not only the tone and density found in the B&W, but additionally a profiling footprint of the type of energy (wavelength x frequency = c the velocity of light), a.k.a. hue, or commonly as color.

Starting with one and converting to the other will almost universally illicit both “new information” and a “new response.”

Ongoing “Color Studies”

[serena-inverse]

A bit more explanation on how my Monkie Kid OC’s portal abilities work. I really wanted to iron out the limits of her portals and what she can/can’t do with them!

I’ve transcribed all of the writing on the picture below the cut! (I’ve also added in a few additional facts I couldn’t fit on the original picture!)

Who is Dragonfly? See her profile here

Click here for a Masterlist of all the comics/art in this series

Dragonfly’s Personal Mystic Weapon: The Portal Chakram (not it’s real name).

(Note: Dragonfly is unable to create portals herself- it is the Chakram that grants her the ability to open portals).

How Does the Portal Chakram Work?

The Chakram can split into up to six (6) copies of itself (meaning up to six portals can be opened at any one time).

The Chakram can shrink or grow in size, which allows the creation of various sized portals. There is however a limit on how big/small it can get.

The Chakram can float/fly in the air as it’s user wills.

The Chakram can only create portals to locations it’s user has previously visited or has a clear visualization of. As such, Dragonfly needs a distinctive photo and/or map in order to open a portal to an area she doesn’t know (or doesn’t have a direct line of sight to).

An open portal can be tilted, but it cannot be moved from the location it was opened.

Velocity is preserved when moving between portals.

The Chakram cannot open a portal to an area that has been mystically warded or protected.

The Chakram can open a portal to a specific individual if it’s user can lock onto their unique ‘life energy’ signature. Dragonfly is unable to sense life energy, so she cannot use this ability.

The Chakram can also be used AS a Chakram (aka a projectile weapon). The edge of the weapon will sharpen or dull as it’s user wishes.

How Does Dragonfly use the Chakram?

Short answer: Very Creatively

Long answer: She has learned how to be extremely versatile with her portals. Some examples of what she can do...

Use portals to move an enemy far away or escape herself.

Re-Direct an attack, weapon, or other debris back at an opponent.

Use portals to drop something heavy (e.g. a car) to attack an opponent or block their path.

Make portals that connect to a solid floor, giving her a stable area she can stand on, even in mid-air. (She can create a ‘portal staircase’ this way).

And in extreme situations...

Open a portal to the bottom of the ocean. The extreme pressure at that depth creates a super water jet cutter she can use to attack.

Open a portal into an active volcano to either drop an opponent inside, or shoot hot lava.

Use her phone to check the weather, then open a portal into the middle of a storm front, unleashing torrential wind and lightning.

Random Trivia

Dragonfly shrinks and wears the Chakram on her body as either ring/s or bracelet/s at all times when not actively using it. She will never willingly remove it.

As a ‘mere mortal’ who regularly interacts with demons and other supernatural entities, Dragonfly is very dependent on the Chakram (and her wits) to keep herself alive and ‘level the playing field’.

A lot of Dragonfly’s confidence rests on her proficiency with the Chakram. Loosing it would be severe mental blow for the normally vivacious woman.

Additional Trivia I couldn’t fit on the Image!

The Portal Chakram is Dragonfly’s biggest strength, but her reliance on it is also her biggest weakness.

(Remember that Dragonfly herself has no special/mystic abilities, or combat/martial arts training.)

There are multiple parties who want to steal the Portal Chakram from Dragonfly, but so far she has successfully evaded all their attempts to take it from her.

When short on cash, Dragonfly will agree to transport people/items using her portals for a price. (This is how she meets Macaque!)

Dragonfly often plays visual memorization games on her phone - it is important for her to be able to quickly and accurately recall locations in order to open portals, so she practices to keep her memory sharp.

Dragonfly has several locations she’s scouted out in advance for use in fighting/running away. For example:

An abandoned junkyard where she can easily grab dilapidated vehicles/heavy items to drop on people.

An isolated, uninhabited island she can safely dump dangerous items on.

Her own backyard- where she’s set up a massive net/cushion to catch herself if she falls from a great height and needs somewhere she can safely land/break her fall.

(Other Comments from around the Picture)

Having been in possession of the Chakram for many years, Dragonfly is an expert in using it. (A Self-Proclaimed ‘Portal Master’).

Dragonfly doesn’t hesitate to use the Chakram to help her with daily tasks or other trivial things.

Portals appear as golden energy inside the rings when activated. (The colour of the portal changes depending on the user- e.g. if Macaque used the Chakram his portals would be made of shadowy purple energy).

[forgeline]

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[watusichris]

Rock Gunfight in the Antipodes

Listening today to the hot new Grown Up Wrong! comp by Sydney’s Lipstick Killers, whose lone officially released single was produced by Deniz Tek of Radio Birdman, it occurred to me that my old Music Aficionado faux faceoff between Australia’s pioneering bands of the ‘70s (all of which I dearly love) has disappeared into the online ether. It’s time to bring it back.

**********

By Chris Morris

The mid- to late ‘70s were fertile days for rock ‘n’ roll in Australia. Here and there across the vast but not terribly populous island continent, fires were started by several attitude-filled bands bent on doing things their own damn way. They all managed to make their way off the island, but if they hit the American consciousness, it was for little more than a nanosecond during their heyday.

Who were the truest Rock Wizards of Oz? For this Down Under face-off, I’ve selected three contenders: the Saints, Radio Birdman, and the Scientists. All of them had fairly slim discographies; ironically, the act probably least known in the U.S., the Scientists, recorded most prolifically, with their core line-up producing several magnificent albums and singles during a productive four-year stretch in the early ‘80s. But none of these bands ever stayed together long enough to make a deep impression among the Yanks.

So where’s the Birthday Party, you ask? There are a few things to consider. First of all, though the band and its precursor unit the Boys Next Door were in business from 1976 on, they didn’t release their first LP until 1980. Also, Nick Cave is well known enough that more (king) ink needn’t be spilled on him. Finally, I still resent the fact that Cave stole PJ Harvey away from me, so it’s personal.

On with the showdown…

HIT ME LIKE A DEATH RAY, BABY

The Saints, founded 1974 in Brisbane

The prime movers of the Saints were a pair of literal outsiders: vocalist Chris Bailey, born in Kenya to Irish parents, and guitarist Ed Kuepper, raised in Germany. Thus the otherness of their work is no surprise.

With schoolmate Ivor Hay – who over time would play drums, bass, and piano with them – the pair founded a combo originally known as Kid Galahad and the Eternals (borrowing their handle from a 1962 Elvis Presley picture), but they swiftly renamed themselves the Saints and began playing in their hometown on the northeast coast of Australia.

Listening to their records, which were made in something of a cultural vacuum, it’s difficult to get a handle on where the Saints’ distinctive, aggressive sound came from. To be sure they were aware of such homegrown precursors from the ‘60s as the Master’s Apprentices and the Missing Links (whose 1965 single they covered on their debut album). It’s safe to assume they were conversant with the Velvet Underground, the Stooges, and Lenny Kaye’s 1972 garage rock compilation Nuggets. Yet they bred something utterly their own in the ocean air of Brisbane.

With Hay on drums and Kym Bradshaw on bass, Bailey and Kuepper mounted noisy local gigs that swiftly attracted the antipathy of the local constabulary; they wound up turning their own digs into a club to play shows. In 1976, they recorded and issued a self-financed single featuring two originals, “(I’m) Stranded” and “No Time.” These dire, ferocious songs were distinguished by venomous lyrics, unprecedented velocity, and guitar playing by Kuepper that sounded like a (literal) iron curtain being attacked with a chainsaw.

The record died locally, but a copy of its U.K. issue found its way into the hands of a critic at the English music weekly Sounds, which declared it the single of the week. This accolade got the attention of EMI Records, which signed the band and financed the recording of an album, also titled I’m Stranded, in a fast two-day Brisbane session.

The album, which was ultimately released in the U.S. by Sire Records, blew the ears off anyone who heard it, and it landed with a bang in England, where punk rock was lifting off in all its fury in early 1977. It was hurtling, powerful stuff that stood apart from punk in several crucial ways: While some of the songs were clipped and demonic in the standard manner, the Saints proved they could take their time on expansive numbers like the almost Dylanesque “Messin’ With the Kid” and the sprawling, hellriding “Nights in Venice.” And one has to wonder how British p-rockers took to their perverted take on Elvis’ squishy “Kissin’ Cousins.”

Made by musicians who never considered themselves “punks,” and who in fact abhorred the label, (I’m) Stranded is nevertheless one of the definitive statements in the genre, and it has maintained its force to this day.

Settling in England for the duration, the Saints decided to throw a curveball. One could not find a more profoundly alienated album than Eternally Yours (1978), a series of yowling protests, twisted prophecies, and savage put-downs, including the snarling second version of the single “This Perfect Day.” But, though the record was loud and for the most part swift, the group applied the brakes to their sound somewhat, and a couple of songs, including the caustic album opener “Know Your Product,” were dressed by a soul-styled horn section. Punk loyalists ran for cover.

By the time Prehistoric Sounds was issued in late ’78, the dejected Bailey and Kuepper were moving in different directions, and you can hear it in the grooves. The record is slow, almost listless at times, and its logy originals are complemented by incongruous Otis Redding and Aretha Franklin covers with none of the energy of earlier Saints soul-blasts. It is an album primarily for loyalists, and by then there were few in that number.

Kuepper exited the band on the heels of the third album’s release and returned to Australia, where he enjoyed a long career as leader of the Laughing Clowns; Bailey continued to perform under the Saints mantle with a shifting lineup that at last count numbered more than 30 players over the course of 37 years

Bailey and Kuepper reunited for one-off gigs in 2001 (at the ARIA awards ceremony) and 2007 (at Australia’s Queensland Music Festival).

THERE’S GONNA BE A NEW RACE

Radio Birdman, founded 1974 in Sydney

People who toss the “punk” handle around often throw Radio Birdman into the mix, but the sextet from Australia’s Southeast Coast may be best referred as the world’s youngest proto-punk band.

Its mastermind was guitarist, songwriter, and producer Deniz Tek, a native of Ann Arbor, Michigan, who emigrated to Sydney in 1971 to study medicine. As a teen, he got a chance to witness Detroit’s most explosive pre-punk bands – the MC5, the Stooges, and the Rationals; he would later wind up collaborating with important members of all those groups.

After apprenticing with and getting bounced from a Sydney band called TV Jones, Tek formed Radio Birdman (its name a corruption of a lyric from the Stooges’ “1970”) with singer Rob Younger; the lineup ultimately solidified with the addition of guitarist (and sometime keyboardist) Chris Masuak, bassist Warwick Gilbert, drummer Ron Keeley, and (on and off and then on again) keyboardist Pip Hoyle.

Rapidly acquiring a fan base made up of some of Sydney’s lowest elements, including members of the local Hell’s Angels, Radio Birdman ultimately took over a bar, re-dubbed (in honor of the Stooges, of course) the Oxford Funhouse, as their base of operations. The band’s severe Tek-designed band logo emanated fascist-style vibes for some; at a co-billed appearance in Sydney, the Saints’ Chris Bailey remarked from the stage, “We’d like to thank the local members of Hitler Youth for their stage props.”

Despite much antipathy and some attendant violence, the band maintained a loyal local following, and in 1976 it issued a strong four-song EP, Burn My Eye, via local studio-cum-independent label Trafalgar. This was succeeded the following year by a full-length debut album, Radios Appear.

Anyone looking for something resembling punk will likely be disappointed by that collection. The band wears its all-American hard rock/proto-punk influences on its dirty sleeve. Radios Appear is dedicated to the Stooges (whose “No Fun” was the lead-off track on the Aussie issue of the LP), and a song co-written by Tek and Stooges guitarist Ron Asheton, “Hit Them Again,” was cut during sessions for the record. Tek pays deep homage to MC5 guitarist Wayne Kramer with his playing, and blatantly cops a signature lick from the 5’s “Looking at You” at one juncture. The album title was lifted from a Blue Öyster Cult lyric, and the Tek-Masuak guitar-bashing bows to their multi-axe sound. Finally, in both Younger’s sometimes Morrisonian vocalizing and Hoyle’s Ray Manzarek-like ornamentation, homage to the Doors in paid in full. Given that Sydney is a beach town, there’s even a frisson of surf music in the mix.

Bursting with power-packed originals like the apocalyptic “Descent into the Maestrom,” youth-in-revolt anthem “New Race,” the cryptic, insinuating “Man with the Golden Helmet,” and Tek’s autobiographical “Murder City Nights,” Radios Appear was a power-packed set that established Radio Birdman as Oz’s leading rock light.

However, renown did not equal success in Antipodean terms. In 1978, the band cut its second album, Living Eyes, at Rockfield Studio in Wales; it was a solid effort that included remakes of three Burn My Eye numbers (including the wonderful Tek memoir “I-94,” about the Michigan interstate) and excellent new originals like “Hanging On,” “Crying Sun,” and “Alone in the End Zone.” But, with success seemingly within their grasp, Sire Records – their American label, and the Saints’ as well – switched distribution and cut their roster, leaving their new work without a home. Within months of this catastrophe, Radio Birdman disbanded.

The principals scattered, to Younger’s New Christs and Tek and Hoyle’s the Visitors; Tek, Younger, and Warwick Gilbert later joined MC5 drummer Dennis Thompson and the Stooges’ Ron Asheton in the one-off New Race. Tek also later recorded with Wayne Kramer and Scott Morgan of Ann Arbor’s Rationals in Dodge Main.

Radio Birdman’s original lineup reunited for a 1996 tour; in August 2006 – after four of the original sextet regrouped to record a potent new album, Zeno Beach – the band played its first American date ever, at Los Angeles’ Wiltern Theater. Your correspondent was there, and it was freakin’ incredible.

IN MY HEART THERE’S A PLACE CALLED SWAMPLAND

The Scientists, founded 1978 in Perth

Among the important Aussie bands of the ‘70s, the Scientists were among the first to be directly influenced by the punk explosion in New York.

As guitarist-singer-songwriter Kim Salmon – the lone constant in the Scientists’ lineup during their existence – wrote in 1975, “Reading about a far-off place called CBGB in NYC and its leather-clad denizens, all with names like Johnny Thunders, Richard Hell, and Joey Ramone, got me thinking…I immediately went searching for Punk Rock. What I found were The Modern Lovers and The New York Dolls albums.”

Salmon first dabbled in the new sound with a band bearing the delightfully punk name the Cheap Nasties. Cobbled together in Perth – the Western provincial capital of Australia – from members of such local acts as the Exterminators, the Victims, and Salmon’s the Invaders -- the early Scientists were as derivative as one might imagine. Their early songs, heard on their self-titled LP (the so-called “Pink Album”) and an early single and EP, sport original songs authored by Salmon and drummer-lyricist James Baker, the backbone of shifting Scientific crews through 1980. The tunes range from straight-up Dolls/Heartbreakers rips (“Frantic Romantic,” “Pissed On Another Planet,” “High Noon”) to buzzing romantic pop-punk in a Buzzcocks vein (“That Girl,” “She Said She Loves Me”).

Not terribly promising stuff, but, after the departure of Baker for the Hoodoo Gurus in 1981 and a brief stint in a trio called Louie Louie, Salmon assembled a new Scientists who would prevail for nearly four years. That outfit – Salmon, guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Brett Rixton – promptly relocated to Sydney and started making the noise they are noted for.

By that time, Salmon had begun cocking an ear to the Birthday Party (and no doubt paid careful attention to the sordid noise on the Melbourne group’s 1982 album Junkyard), had discovered the miasmic voodoo of the Cramps, and started grooving to the dissonant, slide guitar-dominated racket of Captain Beefheart and his Magic Band. In short order, he would also absorb the bluesy downhome assault of Los Angeles’ roots-punk outfit the Gun Club.

The Sydney-based Scientists hooked up with indie label Au Go Go, which issued a devastating run of careening, mossy records by the band in 1982-83 – the vertiginous singles “This is My Happy Hour”/“Swampland” and the corrosive “We Had Love” (backed by a faithful cover of Beefheart’s “Clear Spot”), and the heart-stopping mini-album Blood Red River, which bore the churning “Set It On Fire,” “Revhead,” and “Burnout.” Others were essaying a similar style, but the Aussie youngsters were beating their elders at their own game.

Eying the big time, the band moved to London in 1984. Some opportunities presented themselves initially: The band got European tour slots with the Gun Club and early Goth act Sisters of Mercy. But their deal with Au Go Go fell apart acrimoniously; while they made a pair of fog-bound albums, You Get What You Deserve (1985) and The Human Jukebox (1987) for Karbon Records (and a set of re-recorded songs, Weird Love, was issued in the U.S. by Big Time Records), they scraped by in Britain.

Defections from the ranks commenced in ’85, and by early 1987 the depleted Salmon used money from a housing settlement to move back to Australia, where he founded a new band, the Surrealists.

Still valued among the cognoscenti, Salmon, Thewlis, Sujdovic, and latter-day drummer Leanne Chock appeared, at the invitation of Seattle’s Mudhoney, at London’s All Tomorrow’s Parties Festival in 2006. Earlier this year, Chicago-based archival label the Numero Group issued a comprehensive four-disc box of the band’s original recordings.

So, at the end of the day, who is the all-time champeen of ‘70s Oz rock?

Scoring on points, the Saints are tops for Being Punk First with additional wins in the Pure Noise and Weltzschmerz categories, Radio Birdman takes the Technical Ability and Old-School Attitude slots, and the Scientists prevail in the Loud Young Snot and Grunge Thug division.

And the championship belt goes to…the Saints!

Of course, that could all change tomorrow, but that’s rock ‘n’ roll for ya.

[claudia1829things]

"MEN IN BLACK 3" (2012) Review

"MEN IN BLACK 3" (2012) Review After 2002's "MEN IN BLACK II", I never thought I would ever see another movie from the franchise based upon Lowell Cunningham's The Men in Black comic book series. Never. After all, it was not exactly a critical success and was barely a commercial hit. And yet . . . the team from the first two movies went ahead and created a third one for the franchise.

"MEN IN BLACK 3" picks up ten years after the last movie, “MEN IN BLACK II”.  Boris the Animal, the last surviving member of the Boglodite species, escapes from the LunarMax prison on Earth's moon with the intention of seeking revenge against the MIB agent responsible for his arrest and loss of arm - Agent K. The latter discovers during a skirmish he and Agent J experience at a local Chinese restaurant that Boris has escaped. Unfortunately for Agent K, Boris arrives in Manhattan and seeks Jeffrey Price, the son of a fellow prisoner who had possession of a few time-jump mechanisms. Not much time passes before Agent K disappears from existence and Agent J is the only one who remembers his partner. Agent O, who is MIB's new Chief following Zed's passing, deduces from Agent J's statements that a fracture has occurred in the space-time continuum. The two realize Boris must have time-jumped to 1969 and killed K. And now an imminent Boglodite invasion threatens Earth, due to the absence of the protective ArcNet that K had installed in 1969. J acquires a similar time-jump mechanism from Price, jumps off the Chrysler Building in order to reach time-travel velocity, and arrives in July 1969, a day before Boris kills K. When I learned that Steven Spielberg, director Barry Sonnenfeld, Will Smith and Tommy Lee Jones planned to do a third MEN IN BLACK movie; I could only shake my head in disbelief. Mind you, I did not dislike the second film. But it seemed a disappointment in compare to the quality of 1997 original movie. But in the end, I could not say no to a MEN IN BLACK movie. And thank God I did go see it. Now, "MEN IN BLACK 3" was not perfect. There were a few aspects about Etan Cohen's screenplay that left me scratching my head. If Boris the Animal (oops! I mean Boris) had been imprisoned in the LunarMax prison for over 40 years, how on earth did Boris' girlfriend Lily, who helped him escape, learn about his existence in the first place? I am also a little confused about Agent J and Agent K's ages. According to 1997's "MEN IN BLACK", Agent k was a teenager in New Jersey when he experienced his first alien encounter before becoming a member of the Men in Black agency in 1961 or 1962. Yet, according to Cohen's script, Agent K was a Texas native born in 1940. As for Agent J, he was at least four years old in July 1969. Which makes him at least 46 or 47 years old in this story. I could have sworn he was at least three or four years younger. Oh well. However, by the time I became deeply engrossed in the story, I managed to forget these questionable aspects of "MEN IN BLACK 3". I believe that "MEN IN BLACK" is the funnier movie. I cannot deny this. However, I feel that "MEN IN BLACK 3" had the best plot of the three films. Time travel tends to be a hit-or-miss topic when it comes to the science-fiction genre. Aside from the questionable aspects of Agents K and J's ages, I feel that "MEN IN BLACK 3" provided a first-rate time travel story. One, Agent J proved to be the right character chosen for a time travel mission. Being over twenty years younger than his partner, he was the right person to see New York City and Cape Canaveral in 1969. Boris' reasons for time travel proved to be a heady mixture of personal vengeance and the successful completion of his original mission to kill a refugee alien named Griffin, who possessed the ArcNet, a satellite device that would prevent Boris' species, the Boglodites, from invading Earth and destroying mankind. Agent J's time travel adventures gave audiences two peaks into what it must have been like for an African-American in the 1960s New York - something that the TV series "MAD MEN" more or less failed to do after five seasons. Kudos to director Barry Sonnenfeld for keeping this fascinating tale hilarious, poignant and on track. Not only did "MEN IN BLACK 3" provided a first-rate time travel story, it also possessed some memorable scenes that I will never forget. My favorite scenes include the brief, yet bizarre memorial service for the recently dead Agent Zed; Agents K and J's skirmish with some truly bizarre agents at a Chinese restaurant that I would not recommend to humans; Agent J's initial time jump to 1969; J's hilarious elevator encounter with a bigot fearful of being in close proximity with a black man; Agent J and young Agent K's very funny and surprising meeting with "Andy Warhol" at the latter's factory; the two agents' meeting with Griffin at Shea Stadium; the meeting between old and young Boris in 1969; and Agent J's discovery at Cape Canaveral of the true reason behind K's strange behavior at the beginning of the story. But my favorite moment featured Agent J's discovery that Agent K's habit of ordering pie was even frustrating in the past. The production for "MEN IN BLACK 3" was also first-rate. Danny Elfman continued his outstanding work in providing a score similar to the franchise's signature theme. I found Bill Pope's photography to be rather sharp and colorful - especially the 1969 segments. Don Zimmerman did outstanding work as the film's editor. I was especially impressed by his work in the time jump sequence and the showdown between the MIB agents and Boris at Cape Canaveral. And both Mary E. Vogt's costume designs and Bo Welch's production designs perfectly recaptured the end of the 1960s. As for the performances . . . what can I say? The cast gave some truly outstanding performances in this film. Will Smith was absolutely marvelous as the time traveling Agent J. I thought he gave one of his best performances in a role that required him to be funny and poignant at the same time. I suspect that he more or less carried the movie on his shoulders. But he had fine support from a wonderful Tommy Lee Jones, who allowed audiences another peek into a personality who hid his emotions behind a stoic mask. I just never thought his emotions would be directed at Smith's Agent J. And I never thought Spielberg and Sonnenfeld would find someone who not only could perfectly portray a younger Agent K, but create a similar screen dynamic with Smith. And Josh Brolin proved to be the man who did the job. He was fantastic. Emma Thompson portrayed Agent O, the new leader of the Men in Black agency. And I adored her performance, especially the scene that required her to give a eulogy for Zed at his memorial . . . in an alien language. Alice Eve was charming as the younger Agent O. She and Brolin had a nice chemistry going as two MIB agents attracted to one another. What can I say about Michael Stuhlbarg's performance as the precognitive alien, Griffin? Oh God, he was so wonderful. He portrayed Griffin with a delicious mixture of wisdom and naivety. I wanted to gather him in my arms and squeeze him like a teddy bear. Someone once commented (or complained) that New Zealand comic Jemaine Clement as the movie's main villain, Boris the Animal, was not funny. Frankly, Clement was a lot more scary than funny. But he did have one scene that left me rolling in the aisles with laughter - namely Boris' encounter with his younger self in 1969. Even more important, Clement portrayed Boris as one scary and resourceful villain. What else can I say about "MEN IN BLACK 3"? Sure, it had a few glitches regarding the plot and the two main characters' ages. But thanks to Etan Cohen's script that featured an outstanding time travel story, outstanding performances from a cast led by Will Smith, Tommy Lee Jones and Josh Brolin; the movie turned out to be a first-rate addition to the franchise and one of my favorite movies from the summer of 2012. Thank you Barry Sonnenfeld! You had not lost your touch.