#proto roger

[acmeoop]

Early Sketches “Who Framed Roger Rabbit” (1988)

[janwasopimeja]

Question:

(I Can See for Miles inspired Paul to do Helter Skelter)

[frogoat]

A blog about comic books and geek culture in general and Spider-Girl and the MC2 universe in particular.

[nothing-but-music-videos]

The Who perform "My Generation" on The Smothers Brothers Comedy Hour, 1967. Drummer Kieth Moon bribed a stage hand to load a gunpowder charge into one of his drums, leading to a much larger explosion than intended.

[savage-kult-of-gorthaur]

"AT FIRST THE BAND WAS GOING TO BE CALLED BASTARD...."

PIC(S) INFO: Spotlight on Mk I era MOTÖRHEAD, their very first line-up: Lemmy Kilmister (vocals, bass guitar), Larry Wallis (guitars) and Lucas Fox (Drums), c. 1975. 📸: Roger Morton.

"...In theory, it seemed like a good idea, Lemmy fresh out of HAWKWIND, Larry Wallis battered but unboxed from the "Kings of Oblivion" PINK FAIRIES, plus Lucas Fox, an up and coming young drummer around Ladbroke Grove. At first the band was going to be called BASTARD, but then it mutated to MOTÖRHEAD. The theory began to sound even better. Both Lemmy and Larry came to the new project with a bashful of original compositions -- "Motorhead," "Lost Johnny," "On Parole," "Iron Horse/Born to Lose." Dave Edmunds was up to produce and everything seemed set fair for fame and fortune. Pre-dating the rumblings of punk, the original MOTÖRHEAD concept was to juice the tempo, raise the thrash count and generally shake some action into a metal sector that was becoming ponderous and close to invertebrate."

-- MICK FARREN, CD liner notes to the 1997 repressing of their unreleased debut studio album "On Parole" (1975)

Sources: Pinterest, Metal Shock Finland, Facebook, Louder Sound, various, etc...

[digitalfossils]

Roger Ebert is my husband.

Cinemania '95

[fierykitten2]

For no reason whatsoever, here’s what Pokémon I think the Proto Beasts and Neo Swords would gravitate towards if they were in UNITE (based entirely on my headcanons for the Proto Beasts, Neo Swords and UNITE Pokémon. Also assuming each of them is the first one of these six to join because otherwise they’d gravitate towards each other). Also what room they’d sleep in (because I headcanon there are dorm rooms for each type and each Pokémon chooses one of their types to use as their dorm room):

Walking Wake: pretty much any Water-type but especially Blastoise (I just think they’d be friends), Inteleon (I’ve seen people compare it to Quaquaval and in Scarlet I have both a Quaquaval and a Walking Wake and I love them both) and Slowpoke (comically-stupid Water-types). It also quickly befriends Zeraora (you may start to notice a pattern), Mew, Hoopa and Darkrai because they’re the Mythicals and it’s functionally-Mythical. Wake sleeps in the Water room because it has lots of Water-type friends and few if any Dragon-type friends

Iron Leaves: there aren���t many Pokémon that can keep up with its energy. Cinderace is one of the few that can. The two of them may end up being running partners or something. It also befriends the Mythicals for the same reason as Wake. As a bonus, Mew and Zeraora have a lot of energy too. As Leaves has more Psychic-type friends than Grass-type friends, it sleeps in the Psychic room

Gouging Fire: somehow it manages to get into an argument immediately with Zeraora over whose paws can be called “Paws of Doom”. This results in them becoming rivals. Meowscarada takes this opportunity to befriend Fire. Fire finds the Fire room more interesting than the Dragon room and probably uses this as an opportunity to befriend as many Fire-types as possible

Iron Boulder (no reason for it to befriend Zeraora this time): Crustle no question. I don’t actually know why I think it would befriend Crustle I just do. As a result it sleeps in the Rock room. It also befriends any Pokémon whose moveset involves at least one explosion (Fire probably does the same thing to be fair). It also befriends most if not all of the Speedsters for being in the awkward position where no one complains they don’t have enough reps but no one complains that they’re a waste of a slot that should’ve gone to a Pokémon specialising in doing as little damage as possible when they are added (anyone else notice no one ever seems to complain about the number of Speedsters? All-Rounders and Attackers are always “this should’ve been a Supporter/Defender” and Supporters and Defenders are always “we don’t have enough pls give more idc these guys are so predictable you know whether a Pokémon would have to be a Supporter or occasionally Defender and chances are they’re not that popular in the core series so a lot of people would complain it could’ve been a cooler Pokémon when in reality that Pokémon would’ve been more suited for an Attacker/All-Rounder” but no one seems to comment when a Speedster shows up. Admittedly apart from Dodrio I think all Speedsters are quite popular Pokémon in general so maybe that’s why no one complains). *realises Boulder befriending other Speedsters means it would also befriend Zeraora* there’s always some recurring theme when I do posts listing random stuff based on headcanons

Raging Bolt: doesn’t really get on well with anyone. It reluctantly uses the Electric dorm room (when it doesn’t fall asleep in a random spot) and probably accidentally got befriended by some of the other Electric-types *thinks about Pikachu and Zeraora. Somehow forgets about Miraidon*

Iron Crown (I swear no Zeraora this time): again doesn’t really rely on being friends with anyone. It ends up hanging out frequently with Armarouge and as a result also Ceruledge, Meowscarada and Delphox. Armarouge invited it to sleep in the Psychic dorm and it just agreed and stayed there

[astra-ravana]

Ancient Alchemy

Alchemy is one of the oldest mystical and proto-scientific traditions, blending philosophy, chemistry, spirituality, and metaphysics. It was practiced across multiple civilizations, including Egypt, Greece, China, India, and the Islamic world, each contributing to its development.

⚗Origins and Evolution of Alchemy

Ancient Egypt & Hermetic Alchemy (c. 2000 BCE - 300 BCE)

• Egyptian priests practiced early alchemical processes, such as metal purification and embalming.

• Thoth, later known as Hermes Trismegistus, was considered the patron of alchemy, giving rise to the Hermetic Tradition.

• The Emerald Tablet, attributed to Hermes, introduced the concept of “As above, so below,” suggesting the microcosm reflects the macrocosm.

Greek and Hellenistic Alchemy (c. 300 BCE - 400 CE)

• Greek philosophers like Empedocles and Plato theorized about the four classical elements (earth, water, air, and fire) as the building blocks of reality.

• The idea of the Quintessence (Aether) emerged as a mystical fifth element.

• Alchemy merged with Gnosticism and early Christian mysticism.

Indian and Chinese Alchemy (c. 400 BCE - 1200 CE)

• Indian Alchemy (Rasasastra) focused on immortality and transforming metals into gold, with mercury playing a key role.

• Chinese Alchemy (Neidan & Waidan) aimed at achieving the Elixir of Immortality, focusing on both external substances (Waidan) and internal spiritual practices (Neidan).

• Daoist alchemists sought balance through the Yin-Yang and the Five Elements.

Islamic and Medieval European Alchemy (c. 700 CE - 1600 CE)

• The Islamic world preserved and expanded alchemical knowledge, with figures like Jabir ibn Hayyan (Geber), who systematized laboratory techniques.

• Alchemy entered medieval Europe through translations, inspiring figures such as Albertus Magnus, Roger Bacon, and Paracelsus.

• The quest for the Philosopher’s Stone—a mythical substance granting immortality and transmuting base metals into gold—became central.

Renaissance and Early Modern Alchemy (c. 1500 - 1700 CE)

• The fusion of alchemy and early chemistry occurred through figures like Isaac Newton and Robert Boyle.

• Paracelsus emphasized spagyric alchemy, focusing on the medicinal applications of alchemy rather than purely transmutational goals.

• The rise of the Rosicrucians and Freemasons kept alchemical philosophy alive in esoteric circles.

⚗Core Principles of Alchemy

The Three Alchemical Principles (Tria Prima – Paracelsus)

Alchemy posits that all matter consists of three essential principles:

• Sulfur (Soul) – Represents spirit, transformation, and the volatile aspects of existence.

• Mercury (Mind) – Symbolizes fluidity, adaptability, and the connection between spirit and body.

• Salt (Body) – Embodies physical form and stability.

⚗The Four Classical Elements

Alchemy works with the foundational elements of Earth, Water, Air, and Fire, believing these are essential to transmutation and spiritual purification.

The Magnum Opus (Great Work)

The process of transmutation was divided into four symbolic stages:

• Nigredo (Blackening) – Death, dissolution, and breaking down impurities.

• Albedo (Whitening) – Purification and enlightenment.

• Citrinitas (Yellowing) – Awakening and the infusion of divine light.

• Rubedo (Reddening) – Completion, the birth of the perfected being, or the Philosopher’s Stone.

⚗Applications of Alchemy

Physical & Material Alchemy (Transmutation & Chemistry)

• Attempting to turn lead into gold symbolized the refinement of base matter into perfection.

• Alchemists developed early chemical processes, including distillation, sublimation, and crystallization, laying the groundwork for modern chemistry.

• Gunpowder, acids, and medicinal compounds were discovered through alchemical experiments.

Spiritual & Mystical Alchemy

• Many saw alchemy as a metaphor for spiritual enlightenment—transforming the “lead” of the mundane self into the “gold” of the divine self.

• The Philosopher’s Stone was also symbolic of self-realization and immortality.

• Theurgy and Hermetic practices integrated alchemy with ritual magick to invoke higher states of consciousness.

Medicine & Healing (Alchemical Medicine – Spagyrics)

• Paracelsus introduced the idea that diseases could be cured by extracting the essence of plants and minerals.

• Early homeopathy and herbal medicine developed from these alchemical principles.

• Some alchemists sought longevity elixirs, believed to extend life or even grant immortality.

Psychological Alchemy (Carl Jung’s Interpretation)

• Carl Jung saw alchemy as a metaphor for psychological individuation, where the Magnum Opus represented self-integration.

• The shadow (Nigredo), anima/animus (Albedo), and self-realization (Rubedo) were psychological processes paralleling alchemical transformation.

Occult and Modern Esoteric Alchemy

• Alchemical concepts remain central in Hermeticism, Thelema, Rosicrucianism, and Freemasonry.

• The idea of internal alchemy is found in modern spiritual traditions, focusing on energy work, ascension, and self-deification.

⚗Legacy of Alchemy in the Modern World

• Chemistry & Pharmacology: Many laboratory techniques originated from alchemical practices.

• Spiritual Development: The concept of personal transformation remains a key theme in occult traditions.

• Symbolism & Psychology: Alchemy’s symbols and processes influence Jungian psychology and self-improvement methodologies.

Alchemy is far more than just the pursuit of gold—it is a science of transformation at all levels: material, spiritual, and psychological. From its ancient roots in Egypt and China to its esoteric revival in modern mysticism, alchemy continues to inspire those seeking wisdom, power, and enlightenment.

[directdogman]

HELLo . i . i apologize for asking a billionth question BUT considering as the mingus plush is coming soon i thought it would be a LOVELY time to ask about this considering as it IS mingus related; on her profile thingie, it states that mingus was groomed from a young age. (yeowch!) will we ever get any more elaboration on this, like on her backstory / her father whatsoever? theres . a lot to unpack with that single thing itself and im currently in the trenches of the mayor mingus (or michelle if your fancy) brainrot and would love to hear more about this considering it is QUITE depressing with how bad it could be . i fear i may have worded this wrong but uhm ya..

Groomed in this context means basically forced towards success, not the other meaning.

I've talked about it a lil elsewhere. Basically, her dad (Hannibal Crown) was kind of the proto her. Failed politician who tried to run on name recognition and failed. He instilled Mingus with a lot of inner turmoil/insecurity and forced her to study hard and basically not have a social life, after his political ambitions fell through. He wasn't very smart and couldn't really maneuver. Had no good ideas of his own and botched every job he was given in one way or another. Due to him being raised with an absent father figure and by a traumatized mother, he transferred and worsened the negative aspects of how he was raised to his daughter and showed her no love or affection.

He harshly corrected his daughter on her posture, how she spoke (this is why Mingus speaks somewhat formally to this day), pushed her into every extracurricular he could and basically just negatively compared her in every way to her grandfather, causing her to both internalize his vision of Crown and also develop a deep yearning for him to come back - so he could show her the love that she never got from her dad. Mingus truly despised him and by the end, a part of her relentless pursuit of success was to spite him, to prove to herself (and the world) that she was better than he ever was.

It says a lot that she even abandoned the name he gave her for the name that her paw paw gave his CAT, after all.

Mingus ironically wound up becoming the person her dad wanted her to be and achieved something he never was able to through his failed campaigns - becoming the MAYOR of Dialtown and refilling her paw paw's old position. But of course, enough is never enough. That inner well of insecurity is deep within her and she puts up walls because she was trained to understand that to show vulnerability is to appear weak.

Mingus' last conversation with her dad would make a REALLY good short story too, actually. I'll put that on the list of potential short story ideas for after Roger's route releases! Might be insightful.

[acmeoop]

Toon Props

Prop Designs from Who Framed Roger Rabbit

[creative-type]

The Romanticism of One Piece

I’m always amazed by how Oda has managed to stay thematically consistent for more than two decades while writing a thousand plus chapter epic about silly pirates having fun chasing their dreams. One Piece, at its core, is about the dawn of a romantic adventure, and its been that way since volume one, chapter one.

But romance is one of those terms whose meaning as shifted over the years and is drastically misunderstood. So what is literary romance, and how does One Piece fit within its framework?

Well buckle up, folks. This is gonna be a long one.

Romanticism as a movement started in the late 18th century, and is described by Isaiah Berlin as the “the greatest single shift in the consciousness of the West”. The modern ideas of childhood, imagination,  and sentimentality were born here. It’s a rejection of society’s constraints in favor of impossible yearning for impossible goals. Romantics were restless and passionate, and embraced the magnitude of their feeling over the scientific rigors of the Age of Reason.

Sound familiar?

Romanticism gets its name from the old medieval ballads (themselves written in the Romantic languages) that became popular with the growing movement. The 19th century was a period of incredible change. Industrialization, urbanization, and the development of the middle class were all new. Revolution, both industrial and political, was changing the course of the world forever. The Romantics worshiped heroes of the past (in fact, the term hero worship was coined during this time) and sought a return to nature. William Wordsworth famously lobbied against the building of railways in his beloved Lake District, and much of the art of the time, whether it be painting or poetry, focused heavily on man’s relation with nature

In addition to rebelling against traditional political structures, the Romantics also broke away from the traditional religious teaching, many believing that man found enlightenment not through theology or the bible, but by study and attunement with nature. One of proto-Romantic writer Jean-Jaques Rousseau’s most influential works Emile, or On Education was banned in parts of Europe and even publicly burned due to its ideas on natural religion.

All of this leads to the Romantic pursuit of the sublime. While Enlightenment thinkers would often attempt to remove themselves emotionally from what they were experiencing in order to understand said experience through objective, immutable fact, the Romantics sought emotion, awe, and reverence that transcended rational thought. They celebrated and marveled at the wonders of creation, allowing themselves to be consumed by emotion and experience. These were not stoic people, and its here where One Piece truly begins to shine as a work of Romantic art

The world of One Piece, particularly once the story gets to the Grand Line, is chalk full of impossible wonder and whimsy. Each island visited along the journey is a feast for the eyes, and Oda’s art does each distinct and incredible location every justice. Luffy has no desire to see the boring or everyday, and he has no qualm in expressing his excitement everywhere he goes. Oda has made the conscious decision never to let the reader look into Luffy’s thoughts via thought bubbles, but the audience is still able to connect with him because they are always aware of what he he is feeling. Every smile takes up half his face, every sadness drawn as a sniveling wreck. Logical ideas are routinely rejected in favor of desired experiences, and Luffy himself rejects the opportunity to hear the answer to the series’s biggest questions because to him, the journey is more important.

It’s important that Luffy’s mindset isn’t all that common, even a world as wild and wacky as One Piece. As the Jaya arc proves, Roger’s execution initially inspired a generation of pirates to go out and follow their dreams, but in the twenty years since his death that ideaolgy has crumbled under the weight of a new wave of dreamless pragmaticism, the same way the Romantic movement gave way to the Realists who followed. 

Luffy’s Romantic spirit stands out, even amongst the Straw Hat Pirates. Many of the Straw Hat’s character arcs involve Luffy helping to remove the blocks that prevent them from living out their Romantic ideals. As the series progresses, the crew inches towards embodying that freedom of spirit that Luffy exemplifies. What that looks like for each crewmate is different (Romanticism is highly individualistic, after all) but they’re given the opportunity to live out that ideal because of their association with Luffy.

This theme of freedom of expression and pursuit of dreams follows the Straw Hats wherever they go on both the micro and macro level. The Romantic pursuit of self-determination bleeds over nearly every arc with Luffy at its epicenter, until it comes to a crescendo during the Wano arc, when the true nature of Luffy’s fruit comes to light for the first time.

Luffy is the beating heart of One Piece’s Romanticism. He specifically imbues many of the Romantic ideals of childhood, such as innocence, joy, and being unprejudiced by a corrupting society. He’s uncomplicated yet passionate, without a care in the world for what anyone else thinks about him, and because of that disregard for authority he comes off as equal parts wise and naive.

In Emile, Rousseau lays out his idea of childhood education, which doesn’t include a classroom so much as the child’s interaction with the world, emphasizing the senses and building on the child’s own observations and inferences. The Romantic child was instinctual and in tune with nature, and a character like Luffy growing up on the fringes of society while spending most of his time romping around in the woods would not be out of place (see Mary Robinson’s The Savage of Aveyron, based on the real story of a feral boy that had been found in France).

What makes Luffy different is that he never loses that simplicity of character even as he interacts with an increasingly complex world. Yes, he matures both as a person and a captain, bearing the weight of terrible loss and difficult decisions, but he does it still while maintaining that curious mix of selfish desire to do whatever he wants and selfless sacrifice towards the people he cares about. Luffy doesn’t want to be a hero, but remains uncorrupted by the malevolent social hierarchies that rule One Piece’s world.

But for all the ways One Piece is a Romantic story, the philosophy of the series departs in several key places. The Romantics of the late 18th and 19th centuries were reacting to the anxieties brought around by the Industrial Revolution and the subsequent urbanization that came along with it, while One Piece belongs squarely to the post-modern era of the 21st. While both glorify a long-gone past, what that past looks like is very different. One Piece fully embraces technology and progress, as best seen during the conflict between Noland and Calgura in the Skypia flashback. While industrialization is sometimes portrayed negatively (see Wano) it’s just as likely to be seen in a positive light (Water 7), and the mysterious civilization of the Void Century was more technologically advanced than the present day manga, not less.

What’s more important than modernization and technological advance is the ways people use said technology. The beautifully rendered locations along the Straw Hat’s journey are just as likely to be vast stretches of wilderness as bustling metropolises, and that search of wonder and the sublime is equally likely to be found in both.

More importantly, I think, is that the Romantics of old were solitary creatures, brooding and isolated from the people around them. There was a preoccupation of creating art devoid of outside influence. The sublime was a deeply personal experience that by its very nature could not be shared with others. Melancholy, loss, solitude, and death were preoccupations of the Romantic mind, the price of visionary genius being social isolation.

One of the most famous Romantic heroes of the 19th century was Thomas Chatterton, a young genius of a poet who, in the midst of poverty and depression killed himself at the age of 17. He was immortalized in paintings and poems, and his influence can be felt to this day by the persistence of the trope of the suffering artist that he, and countless others, helped codify.

One Piece is the story of a boy who rejects the confines of society in search of his own freedom, but he does not do so alone. Luffy is driven as much by the desire to be with his friends as he is by his desire to find the One Piece. The series agrees that risking death is an acceptable part of chasing ones dream, but rejects the notion that it should be sought out or celebrated. It’s better to live an undignified life in the hope of a better tomorrow than to give into an easy death.

And that’s the fascinating part about how philosophies evolve over time, because as much as One Piece borrows from the Romantic era of the 18 and 19th centuries, it isn’t a Romantic story, just as how no amount of research and copying of style could ever turn a historical novel written today into a product of the era its trying to emulate. Oda has taken an old idea and made it into something new, using that idea as the guide for the entire series. Like sun, guiding to the dawn of a new era.

A Romance dawn, if you will. 

[spilladabalia]

Monks - I Hate You

[hiwelcometothemonstersancturary]

hmmmm. what if. poppy playtime au that follows a similar vibe to who framed roger rabbit. consider:

The toys are all toons brought to the real world by PlayCo. via a device that acts as a portal. They're all experimented on and kept locked away in the factory;

Poppy herself was a toon who got adopted by Elliot Ludwig many years before the portal was properly made. She got stuck in the real world, and Elliot helped her. Poppy pretended to be a TOTALLY HUMAN girl/woman, until one day Elliot mysteriously disappeared and she was locked inside PlayCo, watching the portal be made and the others get brought to the real world;

The Prototype is actually Elliot turned partially into a toon. He's the one that can power up the machine, and only build it to help Poppy go back home, but he's now trapped in PlayCo. as well and forced to keep trapping other toons outside;

The Smiling Critters help Poppy escape the factory as the other toons cause a distraction. Poppy wants to contact someone to help them, but she takes two steps outside and IMMEDIATELY falls inside a car. Angel's car;

They drive back home and Poppy gets inside. Angel screams in panic before Poppy explains the situation, and they decide to help her out. They drive to the police station to find out that the cops are HELPING PlayCo. hide the toons in the factory, and now the authorities know Angel is with Poppy;

Plan B starts: Angel themself is going to free the toons with their own fleshy sweaty hands;

The plot of the game sort of plays out, but it's just Angel and Poppy finding the toons having to work in the factory and freeing them. Angel gets Huggy + Kissy, MLL and the other Game Station toys, and, finally, all of the Smiling Critters + Delight + Boxy Boo before having to escape, being forced to leave the other toons behind;

Epic chase sequence of Angel stuffing everyone inside a random van and driving away plays out;

The "movie" culminates in Angel being captured, and now the toons must be the ones to rescue them and their other friends. The critters ask Rich for help, Mommy Long Legs goes for Claire, and Huggy, Kissy and Poppy ask Avery for help. The three humans accept the offer (maybe they also helped Angel sneak the toons out before??? Idk);

Epic rescue plays out. I have no idea how the final confrontation goes, except that Pierre threatens to kill off the Prototype in order to keep the portal open, and OOOH, PROTO = ELLIOT REVEAL!

Ok, I have one idea, but I might change it: Pierre will kill the Prototype, unless Angel gives up and lets themself be sent to jail for tinkering with "private property"! Angel ignores the toon's pleas and accepts the offer;

Ofc, Pierre tries to kill Proto anyways, but Angel KNEW he was going to do that, so they sacrifice themself in order to stop Pierre. But. BUT. Angel isn't fatally wounded at all! They're still alive and they PUNCH him in the face, sending him flying down the now very open portal;

Happy ending! The toons can come back home, but instead of just staying in one world over the other, they come and go as they please, and now Angel is always being visited by them! Or, rather, Angel becomes their other home/place to sleep at night. The end! <3

[monsters-conquer-the-world]

OOZEPUNK

WHAT IS OOZEPUNK?

Oozepunk is the term I'm coining for the microgenre of urban heroic sci-fi horror-fantasy that first exploded in the mid-80s with movies, shows, and comics like Ghostbusters, Teenage Mutant Ninja Turtles, The Toxic Avenger, Who Framed Roger Rabbit, Hellboy, Street Sharks, and others. Lots of natural crossover with Biopunk and Cyberpunk, aesthetically and philosophically.

Your childhood trauma didn't let you forget Roger Rabbit heavily featured colorful nightmare slime, did it?

A ragtag gang of weirdos (often horribly mutated--more on that soon) band together to save a city that doesn't understand them. Grimy sewers, abandoned buildings and graffiti'd brick walls are lit up by neon lights, streams of mysterious, glowing goo and/or the unearthly lights of futuristic particle weapons--ideally all of the above!

Beyond the "cracked concrete and gutters full of liquid plutonium" aesthetic, Oozepunk prankishly asks "What if catastrophic aberrations of science, particularly DUMPING TOXIC FUCKING WASTE STRAIGHT INTO THE ENVIRONMENT created fucked-up monsters... but they're HEROIC fucked-up monsters!" These catastrophic aberrations of science grant the heroes incredible powers, but COST them their place in human society. (Ghostbusters and Roger Rabbit eschew character mutation in favor of discovering that the undead and olde tymey cartoons are real [and exploitable!], respectively. 'Busters and 'Toon sympathizers alike are treated like insane idiots and/or frauds in their respective universes.)

Oozepunk heroes are challenged not only by strange supernatural beings, but by human society itself. The Ghostbusters battle with local politicians as much as they do the undead. In the recent (and delightful) TMNT: Mutant Mayhem, Splinter warns the Turtles of humans and their obsession with "milking" mutants for their blood--on top of the villainous mutants they're trying to thwart!

Crank up the creep factor in Oozepunk and you get awesome anti-establishment goo-horror like 1988's The Blob, The Stuff, Street Trash, and probably a bunch more. Toxic Avenger is a batshit crazy splatter-comedy (i.e. classic Troma)... and still garnered sequels, a kid's cartoon and toyline!

And there's a Shredder's Revenge-style Crusaders beat-em-up coming out next year??

This looks dope as shit

Ghostbusters and TMNT are the only current, "evergreen" (or radioactive green!) Oozepunk franchises I can think of off the top of my head, but Oozepunk elements are buried in almost all of the stories and settings I love the most. Heroic kaiju like King Kong, Godzilla and Gamera paved the way for our freaky friends, but so did comics characters like Fantastic Four's Ben "The Thing" Grimm, The Hulk and Swamp Thing. Hell, I think I blame SESAME STREET of all things for starting me down the Oozepunk path.

Surprise! I've loved screaming trash monsters with secret hearts of gold since I was a fucking baby, and they've ALWAYS been there for me!

But it's not just Oscar, Sesame Street as a whole is a proto-Oozepunk utopia, years before the big Ooze-splosion of the 80s. Muppets, monsters, talking animals and chill humans all live and work together to scrape by with a little dignity in a gritty-but-wholesome urban world!

Sesame Street, a decades-long reminder that educational childrens' programming can and SHOULD be cool as hell looking and loaded with all kinds of friendly mutant freakuloids.

OOZEPUNK! Whaddya think?

[savage-kult-of-gorthaur]

GO BACK TO WHERE THE EAR-SPLITTING LOUDNESS ALL BEGAN -- CELEBRATING FIFTY YEARS OF LIVE MOTÖRMUSIC IN 2025.

PIC(S) INFO: Where it all began for the Motörmasters on the live music circuit -- Spotlight on a concert poster promoting MOTÖRHEAD's live debut, their first-ever show at The Roundhouse in London, UK, on July 20, 1975.

PIC #2: A magazine cutting featuring Mk 1 era MOTÖRHEAD, c. 1975, photographed by Roger Morton, also promoting the band's live debut at The Roundhouse, including other then-future live UK gigs as well

Source: www.piokok.com/post/6716194846431357713825 (Piokok 2x).

[fearlessechoes]

Hey guys! Just started reading Inside Out by Nick Mason and finished chapter 1! Here are some of my fav moments from the first chapter

These two opening paragraphs are just brilliant!! It was also unexpected to see Nick use astrology signs! Didn’t know he was an astrology girlie… (I was one formerly, but not anymore)

It was just interesting and cute to read the formation of Roger’s and Nick‘s friendship!

This whole page about Rick was so interesting!

This paragraph about cats was really funny to me, since Nick was like: “yeah, Roger’s a bitchy bastard, just like cats!” Have to agree with him on this

This was shocking to me! A Queen reference in my Pink Floyd book? Hell yeah!

Paul Simon played with them??? Really cool since he actually was in London permanently at the time.

In general what I found interesting as well was just how Nick described his friends/acquaintances and his childhood, his years at the Poly, the hardships and shenanigans the proto-Floyd bands had, and his trip to America at the end of the chapter! Really cool stuff so far

Also: here’s a picture of young Nick!