#John Miller Radio Personally

[poisonheadcrabsalesman]

Mission Parameters - 1/?

Written in conjuction with @bloodgulchblog's Touchstone way back last December when we both started throwing MillerChief (we can't keep calling it Milf) ideas around. Not quite ready to post in its entirety but I wanted to share a chunk for Potluck2024

To the dozens of you who now care about/ know who Miller is, thank you for playing in this space with us.

-

Spartans aren’t machines.

It’s a truth, a hard one that he’s having a difficult time internalizing. He understands on some level, but John’s never been one to include himself in any sort of kindness. Knowing something is one thing, believing it is harder. Especially when he wasn’t made to believe. He was made into a tool in order to spare others. He was made into a symbol to inspire them, to encourage more sacrifices that he thought they’d be spared from. They believe in him, even though he fails - even though he’s an imperfect paradox. He knows it is his burden to bear. John had not been happy to learn about the generations after him. Another bitter pill to swallow. Another truth; the UNSC, the UEG, and ONI would do everything in their power to maintain and grow their grip on survival and victory. That was a truth he knew and believed. He had had his part in that, in saving humanity he told himself, but now it was looking like that part may be over.

The IIIs surprised him, but they were familiar, having lived the majority of their lives as Spartans. They moved like Spartans, walked and talked like Spartans, were off-kilter amongst civilians like Spartans. The IVs were a different beast altogether- still Spartans, but with all the lived experiences of Helljumpers, SpecOps, and even some civilian types. Prodigies and geniuses. Spartans who chose to become a weapon-and-person. Ones who grew up hearing stories of him and decided they wanted it too- wanted to do their duty, not called upon to serve but vying for a chance to prove themselves or get even with the Covenant. Eager to become a number. Giving anything and everything to hit back.

It rankled some part of him that John tried his best not to listen to. The IIs did what had to be done. Wasn’t it supposed to stop with them? He wouldn’t wish the process on anyone, but the new hands jumped at the opportunity. They were still Spartans, but what did that mean now? Why were they still needed? And what was he supposed to do when he was outnumbered in a sea of the next model? Some of them were born after he’d put on the armor. Most of them had only ever known war, only ever seen humanity pushed to the brink. The ones he worked with were good people, but there was something sinister about the whole thing. They didn’t see him as an equal, he was a benchmark, a standard, and an unreachable one at that. The lucky one despite him hating that word. But the IVs didn’t know. He wasn’t a man or a tool to them. He was the Master Chief, the Spartan, the touchstone of the entire program-turned-branch. Their eyes glazed with propaganda and their words greased with blood. He wasn’t sure whose.

John didn’t know what to do with himself anymore. Recent events have had everyone worried about John. His team is worried. Commander Palmer and Captain Lasky are worried. Admiral Hood is worried, but at least John doesn’t have to look him in the eye as often as the others. He and Blue Team have been effectively grounded and put under close watch after disobeying orders. Everyone’s worried about the Master Chief and his insubordination. A handful are worried about John 117, but there’s one person still alive who’s worried about John in the most mundane of ways.

The babysitter. One Spartan Jared Miller. The guy on the radio telling them things they already know. Except that’s not true. Truthfully- again John had to acknowledge the truths staring him in the face- truthfully, having a handler had been… interesting. Blue Team had shared looks when they were told that they were going to test out handlers to see who’d be a good fit for them. The Blue Team, legends in the field who had been in active combat longer than most of their current peers had been alive. Getting a handler for them seemed like blasphemy. But having an eye in the sky watching their backs and giving them real time updates that didn’t cost them breaking cover or silence was…nice. Nice things didn’t happen to Blue Team. Spartans weren’t given support- they were the support. They were the boots on the ground and more often than not, the fodder that threw itself on the wheels to stop the war machine from devouring humanity. Now the tools were supposed to be people and have an entire network of handlers and techs and medical crew to care for and maintain them?

John had woken up to a changed galaxy.

Under orders Kelly-087, Fred-104, Linda-058, and John-117 ran drill after drill, exercise after exercise, and every simulation the War Games AI had with the few Spartan handlers stationed on the Infinity. That’s why John even knows Miller exists; Blue Team running the gamut of exercises with each Spartan mission handler to find the best fit. They don’t need one, never had, but what it meant to be a Spartan had changed while he was away. It’s still changing, growing around and past him. John isn’t entirely sure how he feels about it. Spartans existing and being promoted in the public eye, receiving preferential treatment, being looked after and support more than he’s ever known in his entire career. It was all so uncomfortable. John had thought he’d gotten used to being uncomfortable.

Spartans were evolving and he had to get with the times in order to not be left behind. More than that, John didn’t want to be a liability to his team. He just got them back and didn’t want to lose them again. A small dark part of him wonders if they would be better off without him. An aging Spartan who had run its course and should disappear quietly rather than drag out this misery in some kind of spectacle. John was tired of being an example.

John thought Miller was doing a good job, he just needed the confidence that came with experience. He was a fine handler for Blue Team after John had slipped his leash and gone off on his own, showing some unlikable non-Spartan characteristics. After Biko. Spartan IIs didn’t get grounded, but times had changed and there was a whole branch for them now. No more operating in shadows and being more myth than fact. The brass had been unhappy at the Master Chief going AWOL, Commander Palmer had been unhappy at them going against orders and making a mess for her, and Captain Lasky had been unhappy that John had decided to run away rather than deal with his failures. John was unhappy about that as well and it was why he was here, doing this.

A self-assigned mission, to figure out and help if he could.

Miller had a hard time not getting trapped in his own head. It's something John's seen in a lot of good soldiers over the years. Many good people he’s worked with struggle with shouldering the decisions they’ve made, the things they’ve seen.. John’s no exception. Miller's… just more obvious about it.

Miller pouts, he worries, he frets. It seems like anytime John looks at the man there's some kind of doubt clouding his face. Miller sticks out among the uniform sea of techsuits and buzz cuts because it’s the one un-Spartan thing the UNSC hasn’t seemed to iron out of him yet. He’s visibly nervous all the time. It's why John approached him.

Jared Miller seemed to be the one Spartan on the ship with more obvious problems than him. John wanted to find out why. Miller was a puzzle of anxiety, almost too tightly wound for a Spartan. But then John had seen him work, listened to him deliver intel and direct his own team. Spartan Miller was a fine handler, detail-oriented, mission-focused, and quick to respond to out-of-control scenarios. He just needed confidence both on and off comms, for his own good and the good of the fireteams under his leadership.

And John was going to help him. A handful of people had always told him he needed a hobby. John didn’t know what to do with himself, so he was focusing on someone else. It helped put things into perspective in a way. The IVs confused him, in some ways more than the civilian contractors and scientists that moved easily amongst the Spartans. More than the team of techs who insisted on his care and maintenance rather than letting him do what he’s always done. The entire culture of warships had shifted while he was asleep. John was a remnant of an older age haunting the new hires. There weren’t supposed to be Spartans after his class – his family. They had been called upon to serve-taken, to endure, so that there wouldn’t be a need anymore. So to quell the storm of thoughts he got anytime he left his quarters, John decided to study Miller. Fred said he was going to give the guy complexes, but John had thought about his time since waking up and running. He could learn, and maybe he could teach.

The fact that there were two generations of Spartans after the IIs weighed on John, but it was another thing he was going to have to learn to live with. The fact that there were 300 Spartan milling about on the Infinity was mind-boggling, and he would just have to adjust. With the ship now in drydock, many of the crew were taking the rare chance to stretch their legs and go planet-side. John was not. He was avoiding his team and avoiding the looks he got. He was having a harder time adjusting than he would ever care to admit, or even think. He was finding ways to keep moving even if Blue Team’s wings were clipped. John was entertaining something with the one person who was more anxious than him and who worried about John for the wrong reasons.

He needed to stop lying to himself. They weren’t the wrong reasons, but it was a novel sensation to have someone worry about his well-being in such a mundane way. Blue Team is worried John is going to work himself to death or snap, Command is worried about that too and doing damage control to whatever next mistake he makes. Miller is worried about John’s feelings while they dance around each other in this game of almost flirting and calling bluffs. It’s a game of chicken but with what John thinks are what normal stakes look like.

[love-studying58]

happy Masters of the Air release week. In honour of the series due to release on the 26th, I wanted to list a few faces we’ll be seeing throughout the series. I want to particularly note the crewmen of the 100th in hopes this makes sense to viewers who either a) didn’t have time to read any books based on the 100th bomb group, or b) want to read Masters of the Air by Donald L. Miller during/after the tv show aires. My lovely friend on tumblr @kylaym was happy to message me on instagram regarding who’s who for most of the 100th bomb group posts. She gets that everyone in uniform looks the same; same haircut, moustaches, masks, everywhere, etc. She mentioned it is always better to remember a bunch of lads as groups and crews than as individuals!

Here we gooo..

Colonel Neil “Chick” Harding

A West Point graduate and the school’s football coach prior to the war. Harding was a seasoned aviator who truly emulated much of the 100th’s attitude. He exhibited an appreciation for his crew’s mental and emotional well-being.

Major John C. “Bucky�� Egan and Major Gale “Buck” Cleven

Two of the squadron commanders, Majors John “Bucky” Egan of the 418th Bomb Squadron and Gale “Buck” Cleven of the 350th, had piloting skills which matched their personalities. (Found top row 3rd and 4th members from left to right).

Captain John D. Brady

He served as a pilot in the 418th bomb squadron and was shot down during the mission to Munster on October 10th, 1943. (Shown here on the far left). He flew overseas in A/C #42-30071 “Skipper” as 1st Lt. Pilot. 2nd Lt’s being Lt. John L. Hoerr [Co-Pilot] and Lt. Harry Crosby [Group Navigator and Captain].

M/Sgt. Kenneth A. Lemmons

He served on the 351st Bomb Squadron and was one of the first crew chiefs assigned to the 100th Bomb Group. After being a part of the U.S. Air Force's ground crew, he was subsequently promoted to the position of flight chief. (Shown above in the front).

Harry H. Crosby

Harry served as a navigator in the 418th Bomb Squadron and later became Group Navigator for the Hundredth, however, his struggle with airsickness often hindered his ability to navigate. (Found above beside Brady on the right). Harry Crosby replaced Lt. Payne on the crew of Douglass.

Payne is found above on the right, beside Harry Crosby.

Lt. Howard B. “Hambone” Hamilton

He was a bombardier mostly known for flying with Brady’s crew.

On the October 10th Munster mission, crew #32 was led by Major John C. Egan as Co-Pilot. Near the initial point “Mlle Zig Zig” was hit by Flak, resulting in the following:

- Sgt Clanton passing away

- wounding Howard Hamilton and Roland Gangwer. (Both ended up spending a long time in the hospital).

- the surviving crew members bailed out but were taken prisoner.

Hamilton is seen above on the far left. Beside him on the left is Lt. James Douglass and Captain Frank Murphy.

Captain James Douglass

Served as a bombardier in the 418th Bomb Squadron with the Everett Blakely crew. (Seen above in the first picture beside Blakely).

Major Everett E. Blakely

Was a career officer of the United States Air Force. He was a highly decorated pilot of the B-17 bomber with the Bloody Hundredth Bombardment Group of the 8th Air Force. He is most commonly known for his crew’s plane “Just a Snappin”. On a mission to Bremen on October 8th, 1943, his plane was severely damaged by flak and enemy fighters. He later became the Group Training Officer (Shown above on the right and next to Major John Egan in the second picture above).

Blakely’s Crew:

Major John Kidd- Command Pilot

1st Lt. Everett Blakely- Pilot

2nd Lt. Charles Via- Formation Officer in the tail (SWA on the mission during Black Week)

1st Lt. Harry Crosby - Navigator

2nd Lt. James Douglass - Bombadier

T/Sgt. Edmund Forkner - Radio operator

S/Sgt. William McClelland - Ball Turret Gunner (WIA on the Black Week mission)

S/Sgt. Edward Yevich - Waist Gunner (WIA on the Black Week mission)

S/Sgt. Lyle Nord - Waist Gunner

S/Sgt. Lester Saunders - Tail Gunner (KIA on the Black Week mission)

Lt Roy Claytor

Roy Claytor was part of the 350th Squadron. Above, he may be flying as a command pilot in this mission or practice with the Claytor Crew.

He is seen above on the left, beside Cleven.

Major Robert 'Rosie' Rosenthal

Rosie joins the unit in late 1943. He becomes one of the 100th's most reliable pilots.

Rosenthal's Crew:

[Shown left to right; top row than bottom row]

Sgt. Loren Darling - Waist Gunner

Sgt. Michael V. Boccuzzi - Radio Operator/Gunner

Sgt. John H. Shaffer - Waist Gunner

Sgt. Clarence C. Hall - Top turret gunner/engineer

Sgt. William J. DeBlasio - Tail Gunner

Sgt. Ray H. Robinson - Ball Turret Gunner

Lt. Ronald C. Bailey - Navigator

Lt. Robert 'Rosie' Rosenthal - Pilot

Lt. Clifford J. Milburn - Bombardier

Lt. Winifred 'Pappy' Lewis - Copilot

Lt. Curtis Biddick

Lieutenant Curtis Biddick was known as a ‘hard luck’ pilot but was recognised as exceptionally expert and courageous. ‘Every time he went out something seemed to happen,’ said one of his buddies. On one raid he brought his plane back with 1,700 shell and bullet holes in it and two wounded men aboard.

He clashes due to his English colleagues embarking on night-time raids.

Richard Snyder

Biddick's co-pilot and was part of the 418th Bombardment Squadron.

Okay.... So I truly hope this helps going into Masters of the Air tomorrow. I can't wait to see all the bomber boys spread their wings and fly. This tv series is going to be an absolute wreck (in the best way possible). Thank you to everyone who enjoys my posts. Love y'all.

[burningthrucelluloid]

Christmas Carol-cember Day 3

When you name a cartoon character “Scrooge McDuck,” you’re pretty much guaranteed to have that person play Ebenezer Scrooge.

If you aren’t? Then what are you even doing when this golden opportunity is literally gift wrapped for you? It’s like making a character named “Spider-Man" and he has nothing to do with arachnids. Wasted opportunity.

This 1983 short film truly was a testament to the animation team at the Disney Company, especially for a time when the higher ups were strongly considering shutting down the animation department after a slew of films distributed by the company that weren’t major financial draws. Even more impressive to consider this short film was conceived by the late Disney Legend Burny Mattinson, who passed away last year after a 70-year career at the Walt Disney Company. He started out working as an in-betweener and character animator for 30 years until he grew bold and sent a pitch to Disney’s former CEO, Ron Miller. Miller, according to Burny, tried to strong-arm him over the pitch but Burny held his ground until Miller finally relented, admitted he actually liked the pitch and immediately approved the project.

While the short was originally intended to be released on Christmas 1982, an animator strike delayed the short from it’s Christmas release, forcing Disney to show the short before a re-release of 1977’s “The Rescuers.” Funny enough, the last Mickey Mouse cartoon released in theaters was 30 years prior under RKO Radio Pictures. The short was critically received upon release, even garnering Mattinson an Academy Award nomination. As a result, Mattinson found himself a co-director on a feature film for “The Great Mouse Detective,” bringing along two character animators he had worked alongside.

But the story of John Musker and Ron Clements and their success within the Disney Company is a story for another day.

Naturally since this is an animated short film, many story beats from the original story had to be dropped. Although Scrooge’s nephew remains in the story, his connection to Scrooge’s sister Fran is not present. Nor is the iconic moment of the Ghost of Christmas Present showing “Want” and “Ignorance" to Scrooge as he warns they are the children of Mankind.

But I suppose that’s the tricky thing with adaptation. How much to keep vs how much not to keep.

I was about to ask why Fred was even here until I learned that Burny Mattinson’s dream project was to have the “Big Five” of Disney here. Mickey Mouse, Minnie Mouse, Donald Duck, Goofy and Pete. While many of the original voice actors had passed on, Clarence Nash was still alive though he had to limit performing the Donald Duck voice as it strained his voice. A rumor that may or may not be true tells that the voice directors brought Nash in and worried if he could still do the voice until someone spilled coffee on Nash’s arm. As the story goes, Nash cursed out in the Donald voice and the voice directors supposedly just said “yup, he’s still got it.”

He died two years later, marking this short the last time one of the surviving original Disney voices would perform their characters for a new animated short.

But of course, this is about performances of Scrooge. How does this one measure, especially when it’s animated and has more to do in a short time?

Alan Young as Scrooge McDuck is, to put it best, just a perfect combination of what you want out of the character of Ebenezer Scrooge.

His Scottish drawl and delivery of his lines makes his Scrooge feel genuine.

Someone that is cold, but clearly able to comprehend sympathy.

It also helps that Alan Young makes Scrooge’s greed hilariously lacking in self-reflection; my favorite line being “In his (Marley) will, he left me enough money to pay for his tombstone. Yet I have him buried at sea!”��

It’s a funny take but Young captures the greed that befits the Scrooge character, but also demonstrates the humanity that is clearly inherent. Such as the remorse when he reflects on losing Isabelle or the dawning realization that his penny-pinching causes direct harm to Tiny Tim. Heck, that sequence of Scrooge seeing Mickey Mouse shed a tear before laying Tim’s crutch against his tiny grave, all done without words, is beautifully done. Huge props to Mattinson and his animation team for pulling that off.

Even more praise is deserved with the sequence that has become something of an image of nightmares for some kids who saw this: Pete tossing Scrooge into an open grave as smoke and fire bellows out from below while Scrooge pleads for a second chance, complete with Will Ryan’s cackle at Scrooge’s terror.

Even if it kind is lifted from another Christmas Carol movie, but we’ll get to that one in due time.

Revisiting this short film after all these years and reading up on the passion that the late Burny Mattinson had to make this labor of love at a time when the Disney Company shut down the short films department as a cost-saving measure and was considering doing the same to the animation department as well, really allowed me to appreciate this cartoon more than I did as a kid.

The reunion of many Disney characters who were most likely forgotten by that time (Willie the Giant or Ratty and Moley come to mind) and given exposure to an new audience while also introducing a new generation to a voice for Scrooge McDuck who would ingratiate himself with the character until his death in 2016.

As far as adaptations of the Charles Dickens story go, this one is perfectly suitable for all age groups and I would easily recommend it for parents who want to introduce their children to the Dickens story without necessarily traumatizing them.

It’s the right balance of Christmas cheer and scares to get them into the story.

“Mickey’s Christmas Carol” is available for streaming on Disney+.

Next time? We return to television with a Scrooge not from England, but from America...

[mads-nixon]

100th Bomber Boys: Major Robert 'Rosie' Rosenthal: Pt. 1

Ahead of the show's release, I bought Donald Miller's book and am reading it! Here is a little bit about Major Robert 'Rosie' Rosenthal (played by Nate Mann) from the prologue of Masters of the Air (pg. 13-14)!

Lt. Robert "Rosie" Rosenthal had not trained with the Hundredth's original crews. He and his crew had been assigned to the group that August from a replacement pool in England, to fill in for men lost on the Regens-burg raid. "When I arrived, the group was not well organized," Rosenthal recalled. "They were a rowdy outfit, filled with characters. Chick Harding was a wonderful guy, but he didn't enforce tight discipline on the ground orin the air." Rosenthal didn't fly a mission for thirty days. "No one came around to check me out and approve me for combat duty. Finally, my squadron commander, John Egan, had me fly a practice formation. I flew to the right of his plane. I had done a lot of formation flying in training and I was frustrated; I desperately wanted to get into the war. I put the wing of my plane right up against Egan's, and wherever he went, I went. When we landed, Egan told me he wanted me to be his wing man." Rosenthal had gone to Brooklyn College, not far from his Flatbush home. An outstanding athlete, he had been captain of the football and baseball teams, and later was inducted into the college's athletic hall of fame. After graduating summa cum laude from Brooklyn Law School, he went to work for a leading Manhattan law firm. He was just getting started in his new job when the Japanese bombed Pearl Harbor. The next morning he joined the Army Air Corps. He was twenty-six years old, with broad shoulders, sharply cut features, and dark curly hair. A big-city boy who loved hot jazz, he walked, incongruously, with the shambling gait of a farmer, his toes turned inward and there wasn't an ounce of New York cynicism in him. He was shy and easily embarrassed, but he burned with determination. "I had read Mein Kampf in college and had seen the newsreels of the big Nazi rallies in Nuremberg, with Hitler riding in an open car and the crowds cheering wildly. It was the faces in the crowd that struck me, the looks of adoration. It wasn't just Hitler. The entire nation had gone mad; it had to be stopped. "I'm a Jew, but it wasn't just that. Hitler was a menace to decent people everywhere. I was also tremendously proud of the English. They stood alone against the Nazis during the Battle of Britain and the Blitz. I read the papers avidly for war news and listened to Edward R. Murrow's live radio broadcasts of the bombing of London. I couldn't wait to get over there. "When I finally arrived, I thought I was at the center of the world, the place where the democracies were gathering to defeat the Nazis. I was right where I wanted to be." Rosie Rosenthal didn't share these thoughts with his crewmates, simple guys who distrusted what they called deep thinking. They never learned what was inside him, what made him fly and fight with blazing resolve. Later in the war, when he became one of the most decorated and famous fliers in the Eighth, word spread around Thorpe Abbotts that his family was in a German concentration camp. But when someone asked him directly, he said "that was a lot of hooey." His family-mother, sister, brother-in-law, and niece (his father had recently died) were all back in Brooklyn. "I have no personal reasons. Everything I've done or hope to do is strictly because I hate persecution... A human being has to look out for other human beings or else there's no civilization."

Rosie was part of the 'Bloody 100th' Bombardment Group of the 13th Combat Wing, of the 'Mighty Eighth' Air Force with John 'Bucky' Egan and Gale 'Buck' Cleven (played by Callum Turner and Austin Butler) His plane was called Rosie's Riveters, and him and his crew were an integral part of the bombardment group.

On October 8th, 1943, the 100th went on a bombing run to Bremen, Germany, and Buck Cleven was shot down. Two days later, Egan and the rest of the 100th went on a supposedly "easy" mission to Münster, accompanied by P-47 Thunderbolts almost all the way to the target. Rosenthal and his crew were not flying their beloved Rosie's Riveters due to damage from their two previous missions in Bremen and Marienburg. Instead, they flew Royal Flush.

Rosie's crew was worried about flying a brand new plane, and became incredibly nervous. Bringing them together under one of the wings, he calmed the boys down and lifted their spirits. This mission proved disastrous, and Royal Flush was the only one in the 100th to make it back to Thorpe Abbotts (the 100th's air-base in East Anglia).

Needless to say, I love Rosie already!! I've read up to chapter 6, and I feel like my brain is going to explode with all the information I've taken in :3

lmk if y'all want more posts like this one or would like to be tagged in them!!

[fanficfanattic]

Will you share your Jamie Tartt playlist? 👀

Buckle up boys! Hold on to your butts! Other ways to say brace yourselves!

To Build a Home (feat. Patrick Watson) by The Cinematic Orchestra

I'll Be Good by Jaymes Young

Sorrow by Bad Religion

The Greatest by Sia

Love I'm Given by Ellie Goulding

Runaway by AURORA

Achilles Come Down by Gang of Youths

Move by Oliver Tree

High Hopes by Panic! At the Disco

Outrunning Karma by Alec Benjamin

Home by Cavetown

The Perfect Space by The Avett Brothers

A Better Son/Daughter by Rilo Kiley

False Confidence by Noah Kahan

Legend by The Score

The Competition by Kimya Dawson

In the Blood by John Mayer

Winner by Walgrove

Icarus by Bastille

Sympathy by The Goo Goo Dolls

Take Yours, I’ll Take Mine by Matthew Mole

People Help the People by Birdy

Daylight by David Kushner

Cough it Out by The Front Bottoms

Sober by P!nk

The Cave by Mumford & Sons

Tear It Up by Queen

Waves by Dean Lewis

Soldier by Ingrid Michaelson

We Don't Believe What's On TV by Twenty One Pilots

Blood In the Cut by K.Flay

Chameleon/Comedian by Kathleen Edwards

Water (feat. Rostam) by Ra Ra Riot

All is Soft Inside by AURORA

Pieces (feat. Noah Kahan) by Matoma

Dog Days Are Over by Florence + the Machine

Rise up With Fists!! by Jenny Lewis & The Watson Twins

Gone, Gone, Gone by Phillip Phillips

HandClap by Fitz and The Tantrums

Hi Ren by Ren

I Don't Belong In This Club by Why Don't We & Macklemore

Skinny Love by Birdy

Raising Hell (feat. Big Freedia) by Kesha

Go Places by The New Pornographers

The Night Starts Here by Stars

Ghost by Ella Henderson

Here We Go by WILD

If I Be Wrong by Wolf Larsen

Part of Me by Noah Kahan

We're Going to Be Friends

The White Stripes

Bitch by Meredith Brooks

Samson by Regina Spektor

Let's go to Hell by Tai Verdes

Raise Hell by Brandi Carlile

Power Over Me by Dermot Kennedy

Don't Tell the Boys by Petey

Sober Up (feat. Rivers Cuomo) by AJR

O.N.E. By Yeasayer

Locked Up by Ingrid Michaelson

Like a Stone by Audioslave

Leave the Light On by Overcoats

Tough (feat. Noah Kahan) by Quinn XCII

touch tank by quinnie

Warrior by AURORA

Too Sweet by Hozier

I'Il Think of You by Kurt Hugo Schneider

Into the Ocean by Blue October

Star Fire by Sleeping Wolf

Happier (Stripped) by Marshmello & Bastille

Knievel by Tommy Lefroy

Walk Me Home by P!nk

Brat (Humor Me) by Deore

Am I Wrong by Love Spit Love

Someday by One Republic

7 Years by Lukas Graham

Stick Season by Noah Kahan

Like a Prayer by Madonna

Little Bit by Lykke Li

Bruises by Lewis Capaldi

Don't Carry It All by The Decemberists

Freaking Out by The Wrecks

Will Do by TV on the Radio

The Dirt by Tor Miller

Hope of Morning by Icon for Hire

Smile by Mikky Ekko

The District Sleeps Alone Tonight by The Postal Service

Blood Brothers by Ingrid Michaelson

All My Friends by The Revivalists

Fuck Authority by Pennywise

Crazier Things by Chelsea Cutler & Noah Kahan

Kiss With a Fist by Florence + the Machine

Unstoppable by Sia

Can't Go to Hell by Sin Shake Sin

World's Smallest Violin by AJR

All I Know So Far by P!nk

Knocking at the Door by Arkells

Little Lion Man by Mumford & Sons

The Seed by AURORA

Wine, Women and Song by Harvey Danger

The Cult of Dionysus by The Orion Experience

All You Wanted by Michelle Branch

Young Blood by The Naked and Famous

Truth No. 2 by The Chicks

Homesick by Noah Kahan

Family Line by Conan Gray

The Moon Will Sing by The Crane Wives

Heroes Never Die by NateWantsToBattle

My Number Tegan and Sara

Masterpiece by Big Thief

Til It Happens To You by Lady Gaga

I Don't Wanna Live Forever (Cups Version) by Kurt Hugo Schneider

Sit Down by James

Robots by Dan Mangan

Windowsill by Arcade Fire

Be OK by Ingrid Michaelson

Bite the Hand by boygenius

The Top (Bonus Track) by Primo the Alien

MEAN! (Remix) [feat. Noah Kahan] by Madeline The Person

Home We'll Go (Take My Hand) by Steve Aoki & Walk Off the Earth

From The Bottom Of My Heart by The Wallflowers

FourFiveSeconds by Rihanna and Kanye West and Paul McCartney

I Am the Resurrection by The Stone Roses

Chrome Plated Heart by Melissa Etheridge

Precious Love by James Morrison

Bones (feat. One Republic) by Galantis

Let's Go (feat. Icona Pop) by Tiesto

Unbelievers by Vampire Weekend

So What by P!nk

I Don't Feel Like Dancin' by Scissor Sisters

Creature Fear by Bon Iver

Brother by The Rural Alberta Advantage

Save Me by Noah Kahan

High and Dry by Radiohead

Power by Little Mix

Dirty Paws by Of Monsters and Men

The Boy Does Nothing by Alesha Dixon

Set You Free (Edit) by N-Trance

Stronger by Britney Spears

First Things First by Neon Trees

Kings & Queens by Ava Max

Welcome Home, Son by Radical Face

Capsize by FRENSHIP & Emily Warren

We Were Kings by Ryan Star

Come Undone by Duran Duran

Young Folks by Peter Bjorn and John

Pride by Noah Kahan & mxmtoon

Everywhere by Michelle Branch

Blow Me (One Last Kiss) by P!nk

Dust Bowl Dance by Mumford & Sons

Bad Blood by Bastille

Blue Monday by New Order

Make Believe by The FAIM

Midnight Show by The Killers

Can't Fight the Moonlight by LeAnn Rimes

Ophelia by The Lumineers

Shaky Ground by Freedom Fry

Grounds for Divorce by Elbow

Heaven and Hell by Let's Play Dead

Survivor by The Score

Ready Now by dodie

Young Blood by Noah Kahan

Ain’t No Reason by Brett Dennen

King by Years & Years

Bulletproof by La Roux

Beating Heart Cadavers by Acollective

How to Rest by The Crane Wives

Santa Monica by Everclear

Beds Are Burning by Midnight Oil

Get Some by Lykke Li

Sky Full of Song by Florence + the Machine

Beautiful Trauma by P!nk

Parachute (Serban Ghenea Mix) by Ingrid Michaelson

Down to the Bottom by Dorothy

YES MOM by Tessa Violet

Numb Little Bug by Em Beihold

Rise Up by Andra Day

Maps by Yeah Yeah Yeahs

Hurt Somebody by Noah Kahan

[shmorp-mcdurgen]

Due to feeling intense brainrot for this new The Thing au me and Rufus made I'm gonna make a kinda. intro? post to it? basically listing off the characters with basic descriptions and the whole. premise of the au. You will listen to me ramble. no you don't have a choice. /lhj

BASICALLY. the au is a crossover between TMC and John Carpenter's The Thing (1982), and is about the main TMC cast working at an antarctic research station before being attacked and picked off one by one by an alien entity that mimics organic material. It follows most of the same events as the movie does, though has quite a few differences from the source material that we'll. discuss later. In the meantime, here's the main cast:

Mark Heathcliff (34): Already touched on this dude's main deal in another post but i'll add some things here. He's the head mechanic of the station, and is quiet, and a bit of a loner. He's a recovering (or attempting to recover) alcoholic that is estranged from his family due to such, and only maintains contact with his sister, Sarah. He sometimes lets his emotions get to him, though he knows how to act in serious situations.

Sarah Heathcliff (21): A college student studying electronics, and was invited to the research facility by Mark because she was thinking of working there one day. Still has some grudges against Mark, as their relationship isn't perfect, but she still cares about him and Mark still cares about her. Becomes friends with Evelin.

Evelin Miller (22): The helicopter pilot and technician of the group. Also a bit of a loner, but helps around the facility whenever needed. Hangs out with Dave sometimes.

Cesar Torres (35): The dog Handler of the group, and thus spends a lot of time with the dogs. Is friends with Mark, though their friendship is. rocky, even if they're trying to fix things between each other. He's a bit more social than Mark, though isn't super energetic either. Overall, the voice of reason.

Dave Lee (46): The Biologist of the group. Is pretty friendly towards his coworkers, albeit awkward at times. Also has an interest in tech, even if it isn't his main profession. Though, he tends to make rash decisions when stressed.

Thatcher Davis (45): One of the station commanders. Overall: very tired and stressed. all the time. DEFINITELY has cabin fever. Overall pretty blunt, and occasionally rude, though he almost never means it in malice that's just how he sounds-

Ruth Weaver (46): The second Station commander, as well as a physician/medic. Quiet and calm in stressful situations most of the time, and is overall just there to help.

Jonah Marshall (23): The radio operator and cook of the group. Overall pretty positive and jokes a lot, though gets stressed and frustrated easily, along with being a bit of a coward at times.

Adam Murray (23(?)): A man who doesn't remember who he is after waking up in a Norwegian research base in the arctic. He doesn't remember much of anything from his past, and is unsure why he's so cold, or why he was found with blood on him.

Gabriel (30): The station commander and medic of the Norwegian research facility. Found Adam and took him in to be treated for frostbite. they seem nice, though something about their stare is. unnerving. They have a few coworkers as well (though they don't have proper names or personalities/occupations yet. Though one of them goes by Six, and is. oddly quiet.)

[sometimesrosy]

The 100 rewatch 2023 ep 1.07 Live Blog

Contents Under Pressure.

The clarke/raven/finn love triangle is so soapy. blech.

Oh. Storm is here. Raven is trying to reach the Ark Station. But through a hurricane so that's hard. Clarke is being so supportive and reassuring. (that's a real relationship. Princess Mechanic forever.)

Kane is listing Abby's crimes. All punishable by death. Kane is trying to ignore the radio signals. The council voted to save Abby. Kane is bitchy saying those flashes AREN'T evidence of the kids' survival and Abby gets kicked off the council.

THAT is a signal from Raven Reyes. OH it's station wide. LOL. Everyone in the Ark hears Raven saying The 100 are alive. Ha ha. The signal is coming from earth. Kane looks gutted.

Ah it's ClLARKE on the radio. Abby's voice cracks. Ope she just lets dropped the fact that they aren't alone and Finn got stabbed by a grounder. oops. Jaha asks about Wells. No sorry. Wells is dead. :(

Bitch. You sent him down there. Don't get all pissy Jaha.

Abby is breaking up. THERES A HURRICANE BABY. A huge one. Does that cover the entire south east? Monty's moonshine is used as treatment. Monty and Jasper and Bellamy are out in the storm. No they're back. They are dragging Lincoln. "Intel."

"This is not who we are," Clarke says.

"It is now," Bellamy says. And he's right actually. But it's not really a good thing.

Clarke the medic. Abby guiding her. That's nice. Oop. Tying Lincoln up. And here's Miller. Is this the first time we seeMiller?

Octavia is defnding Lincoln. He hit Lincoln for Finn and Jasper and John and Roma. Who are dead. Yes O he speaks English and Bellamy things he'll understand.

Jaha is morose an looking at memories of Wells. Again. You sent them down there. I have never liked Jaha since he said the kids were disposable. Sorry.

Oh what was that lady's name. Diana. Thanks Jaha. She's divisive. Her people are the workers. She used to be the Chancellor. My people. Your people. Sigh. "you've activated project exodus. congratulations. you will forever be remembered as the man who brought us back to the ground."

Well. No actually. He won't. There's no one to remember him for bringing the ark home. Because they are all dead and/or sucked up into a sparkly purple alien.

I missed all Diana's maneuvering because I was thinking about how pointless it all turned out to be. Stupid season 7.

Yeah yeah. Finn will die if she moves the knife a millimeter in the wrong direction.

Oh. he wakes up as she tries to take the knife out. Yipes. I bet the grounders were not as careful taking the spear out of Jasper's chest. Wait what happened? They all got knocked off their asses but the knife is out of his chest. And he's not dead yet. But he's giving Clarke the lovey dovey eyes right in front of Raven and that is just icky.

Bell trying to get Linocln to talk. Miller finds his antidotes. "Who knows with these people." Listen. Bellamy could EASILY have been Pike. I will forever declare that Clarke's influence kept him from being like that.

Finds Lincoln's journal with a drawing of O and hatchmarks of the 100 live and dead.

Abby wants to talk with Clarke. Clarke doesn't want to talke to her. She goes up to talk to Bellamy. Tells his goon to "get the hell out of my way." "If he didn't hate us before, he does now."

Relax princess. You know the narrative never puts the weight on that term that the fandom did.

Bellamy thinks they're fighting a way and Clarke things they're not soldiers. Bellamy thinks they can't win if they don't fight. Because Lincoln is intimidating.

Finn is seizing but i gotta say I don't care. The stakes mean nothing because we know he's fine in the end. Except for being an awful person who ends up murderous. So like. That does not draw me into the narrative in retrospect.

Kane walking through the people and having all of them being angry at him does, however, have narrative and character resonance. Surprisingly. Wow. Watching Kane alter his character before our eyes. Jaha is finally doing the right thing and telling the Ark the truth. General assembly. Oh wait. This is section 17 where everyone died. Kane came to the culling site to wallow in his guilt. "If I had waited a day, two days, they'd still be alive."

He knows it was him. He was so sure. He swore an oath to protect them and instead he killed them. (ACAB)

"Pull yourself together Kane, and then get your ass to the mess hall." Okay I don't hate Jaha ALL the time. He's like a midrange fav character for me. I suppose I like him better than Jasper (sorry Jasper fans.) If I look at it that way. L was a midrange fave, too. There are lots of characters I hated more.

Clarke has figured out that the knife was poisoned. They say he doesn't understand her but he does. She's trying to force him. Now she's begging. B is going to torture him to get the antidote. O wants to say this is not who we are. Ironic considering who she became. I do not like the character development of O through the whole series. Honestly. She mostly got worse. Seeing her now and she was way better in s1 even being a bratty kid.

Now they're hitting him. No. We do not like torture. Bellay. You do not like hitting him. Clarke begging again. But he won't so B has to hit him again. Aww. B touches Clarke's shoulder to get her out of the way.

This ep is pretty good honeslty.

Jaha telling the truth. He lied about the 100. Earth is survivable. The Ark is dying. He says the culling gifted the rest of them the time they need to go to the earth. But the people still think he's lying to cover up the culling. The dude says all those people died for nothing. But he literally just said that they gave them time to find a way to get to the ground. The dude is like you don't know how we feel.

I LOST MY SON!!!!

Jaha offers the open seat to Diana Sydney. What? No election? Bad idea. She's a scum bucket.

Back to the torture. Pain is not going to make Lincoln tell the antidote. Sorry Clarke. B is not hapy. Oh no. I forgot he shoved that thing through his hand. Yikes. He tries to get Clarke to leave. Ugh. Bad. That's bad. Ugh.

Oh i forgot about this. Raven without any compunctions. Shocks him with live wires. He screams for the first time.

Oh wow. Is this necessary???

Raven crying because "He's all I have!!" O slices herself with the knife. "HE won't let me die."

B is dying. Not literally. Emotionally. HIS SISTER.

But fucking Lincoln tells her which bottle is the antidote. She won't let B touch her.

This shit is FUCKED UP. Wow.

Finn has been given the antidote. Now Clarke is crying over Finn. "I can't do this without you." UGGGGGGGHHH. I'm gonna throw up.

Oh is the hurrican passing already? Nah. That doesn't happen that quickly. It was like three hours tops and probably less.

Ugh. Clarke is being a total bitch with Aabby. "Dad's dead because of you. You turned him in. I know it. WElls told me everything before he.... He let me believe he did it so I'd hate him instead of you."

"That was never supposed to happen. Jaha was supposed to talk him out of it."

She was used to preferential treatment because Jaha had a crush on her. But he didn't offer that preferrential treatment to her husband. I'm going with season 1. And season 1 had Jaha with a thing for Abby. Even if they didn't go anywhere with it. Maybe Jaha gave it up when Wells died. But that is a narrative motivation in season 1.

Clarke takes the spike out of LIncoln's hand and tries to treat him but he won't let her. God he's stubborn. And he lets Octavia do it. Sorry Lincoln you're being creepy with the teenager. You are NOT a teenager. This is a kid man.

And O is being spiteful because O does that best. But she's so sweet to lincoln about him saving her life. and fair he did. but he was willing to sacrifice ALL of the other kids. Now he speaks english does he?

I was not expecting to not like Lincoln. This is weird. Stop looking at her like that. Ew it's creepy. I was caught up in the narrative before which makes this a romeo and juliet story. But they were both kids and LINCOLN is and has always been an adult. wtf.

UGh now finn is looking at Clarke like she's the love of his life. And CLARKE says "She needs you finn."And she wakes up Raven and says he's asking for her. Which he isn't.

Must I say it again. Dump the limp hair biscuit and hook up with Raven. PRINCESS MECHANIC RULES.

Bellamy and Clarke. Who we are and who we need to be to survive are two very different things.

I DO NOT LIKE THIS FAMOUS BELLAMY QUOTE> IT's just the ends justify the means and I DO NOT AGREE.

"It's not being in charge, is it?"

Ugh Diana Sydney swearing in. HOw many eps before she betrays everyone?

OH THE BAD NEWS. We're going to the ground. NOT ALL OF US. 2237 people on the ark. Room for 700 in the dropships. They're on the titanic and there aren't enough lifeboats.

All right. That was a jam packed episode. And I have to say I liked it a lot. It didn't have any big resolutions. I suppose the knife came out of Finn. But it was a lot of character development.

Kane has his complete personality switch and goes back to his childhood spiritual center.

Abby learns that Clarke knows she told on her dad.

Jaha finds out Wells is dead and begins to slowly lose it.

O defends Lincoln and sacrifices herself to save him and Finn trusting Lincoln and the Romeon and Juliet thing starts.

Bellamy pushes himself to be this emotionless torturer because he thinks it's who he needs to be.

Clarke essentially gives up Finn in favore of Raven. Poor judgement. She should give up fin FOR Raven and both of them should dump him and sneak off to the bunker together. I am not apologizing. Bellarke isn't ready yet. They should be future ex girlfriends.

Miller takes over as Bellamy's lieutenant.

Diana Sydney, one of my least favorite characters, despite my kind of being on her side with the class issues on the ark, shows up and is giving power without any sort of vote at all.

The exodus is set up. Oh i can't wait til they get to the ground.

LOTS of character development. Lot of action.

Man if I could write this instead of them, things would be different. Wells would survive. Raven and Clarke would hook up and support each other for a while. When that broke up, amicably, Bellamy and Wells would be waiting in the wings. Yes. Raven and Wells. She never had a guy worthy of her and he never had a chance to be who he could have been. I would have LOVED to hear them argue. It would be enemies to lovers, because he was Jaha's son and a pompous ass and she was a cocky bastard who has no respect. AWESOME.

sigh. well anyway.

What did y'all think of the ep? I'm not editing this post. We die like teenagers in the apocalypses.

[thequarries]

1

prologue

The night was normal for Murphy. Just some studying, music, and procrastination. Nothing was out of the ordinary.

The cassette player from across Murphy’s bed played his favorite mix: rock, specifically Bowie, along with some other random songs mixed in for good measure. Their mix tapes were his favorite way to decompress at the end of a long day: nothing but boring, slow homework, sprinkled with some amazing tunes to help soothe the pain.

“Murphy!” It was his mom, calling out from the living room. “Come here for a second!”

They rolled their eyes, turning the knob of their bedroom door.

“Have you seen this?” she pointed at the TV. “Isn’t he in your grade?”

Murphy studied the television. It was turned on to the news, like always, talking about a new missing persons report: John Airstroth, and now Frankie Miller.

John was in Murphy’s year, but they didn’t interact at all. John was popular, a little bit of a douche bag. Even Winnie didn’t interact with him, and she interacted with everybody. I guess Winnie has standards now. However, Murphy failed to recognize Frankie. According to the broadcast, she was only two years younger than them, a freshman, but Frankie’s face escaped Murphy.

“Yeah, we never talked though.” John’s picture seemed to stare directly at Murphy.

“And now this other girl—it’s like 1983 all over again.”

“I doubt it’s like 1983. Frankie and John were close,”—a lie—“so maybe they just ran away together. Kids talk about that all time at Hawkins High.”

His mom looked at Murphy. “There’s a new curfew—I expect you to follow it. Don’t go out alone after sunset and please either call me directly after school or come straight home.”

A curfew?? What am I, seven years old? “Okay.”

“Thank you.”

Murphy turned and sprinted back to his room.

“I’m going to the grocery store!” their mom yelled out.

“Okay!”

They crawled up on their bed, fishing for the pencil they were using for their homework which was lost somewhere in the blankets. Where had it gone…

As he was looking, he became lost in thought: I wonder where John is. Is he okay? What about Frankie? And finally, the most dreaded thought: is this going to be like 1983 all over again? Whatever. It doesn’t matter. What matters is what Mrs. Kennedy is going to do to your grade if you don’t get this paper done.

The cassette came to a sudden stop, leaving the room quiet. Murphy couldn’t lie to themselves: it was a little unnerving. The stillness of the house, as he was the only one home at that point. Here he was, listening to David Bowie, when John or Frankie could be dead, in the trunk of a car within a mile’s radius of him. Whatever. Whatever whatever. Just flip the tape.

Their hands were shaking as they pressed the eject button on their cassette player, their body becoming increasingly riddled with unrest the longer the room was silent. The only sound being produced, or rather the only sound Murphy could hear, was sound that Murphy caused. They shoved the cassette into the player, going hitting play before noticing something odd about the player.

They put their ear closer to the speaker, trying to see if they were imagining it. But, horrifically, they realized they were not: a light sound of static quietly hummed on the radio, as well as the faintest sounds of someone breathing heavily. The room felt even quieter.

Murphy perked their head back up, pressing the play button. The speaker went silent, and then: music. Finally.

Sighing with relief, Murphy continued his scavenger hunt for the pencil, lost somewhere in the bed. This happens every fucking time.

Suddenly, the cylindrical shape found its way into his hand. Gotcha. 

In all this searching, Murphy hadn’t realized the fact that music had stopped again. Did he mess up the tape? Did he forget which orientation to put it in? Did–

The cassette player started blasting sound, before immediately stopping, then again and again. “There–man–ing–the–y–h–like–” the radio was almost talking. The static and breathing started to come back. The lights flickered.

Murphy slowly stepped off the bed, taking his fate in his own hands: for all he knew there could be someone under their bed, waiting for the right moment, an intruder in the house, something hiding in plain sight.

The lights started flickering more violently. His heart dropped.

As he slowly bent down to pick up the cassette player he noticed smoke coming from the back. The plastic was extremely hot. The player was totaled.

His pencil falling from the bed. A slight sound, loud enough to cause shock waves. Terrified, Murphy started to slowly turn around.

The wall. It was moving. It was contorting into something human–but something that was anything but human, with thin bony arms and an angled face and the wall–it was almost as if the wall was stretching, some sort of plastic or clay conforming to the hands. Murphy screamed as the lights slowly started to turn a sinister irony-red color, a disembodied shade of rose.

Murphy ran, heart pounding in his ears. It felt like all of the blood of his body was rushing to his head, bleeding out of his eardrums, staining his ears. But he didn’t care. He ran, all the way through the hallway, to the outside of his house. To the street past his driveway.

He watched in pure untainted terror as the house’s lights completely shut off, with loud ear piercing noises of screeching coming from inside. For the first time that night, Murphy was completely still. Solely concentrating on the house.

Another scream. The lights flickered back on. He stood, watching the windows for the skinny figure he saw before, listening for the slightest sound of anything from the house. Nothing.

Before reentering, Murphy grabbed the axe from the backyard shed. They tightened their grip around the cold wooden base, as they slowly opened the front door of their house.

Everything was untouched. Even Murphy’s room, rather than his fried cassette player. It was almost as if nothing had happened at all.

As expected, Murphy did not finish their history paper that night.

chapter 2

[newmusicweekly]

MARC Radio Flips WHHZ/Gainesville to ''Rock It 100.5''

Progressive and vintage Rock music arrived on the Gainesville, FL area airwaves Tuesday with the launch of "Rock It 100.5 FM" on WHHZ. According to parent MARC Radio Group, the station will fast become known for playing both familiar and underplayed hard rock music that's been missing from the Gainesville playlists for decades. "Rock It 100.5 is fueled by rock" said MARC Radio's Scott Miller. "If you like the Foo Fighters, Pearl Jam, Nirvana, the Stone Temple Pilots, you've found your new radio station. We'll introduce our listeners to groups like Disturbed, Pretty Reckless and Cage the Elephant." Miller said that the catchphrase "fueled by rock" was inspired by Fueled by Ramen, the Gainesville record company founded in 1996 by University of Florida student John Janick, whose diet at that time consisted of instant ramen noodles. The company has grown exponentially and is now part of New York City-based 300 Elektra Entertainment. Rock It 100.5 FM's format features engaging personalities who know how to rock a mic, added Miller. It replaces The Buzz, which had a more typical Classic Rock music format. Based in Gainesville, FL, the station is programmed to reach primarily male listeners ages 18-49 in Alachua County and surrounding communities. Read the full article

[pathbend-blog]

Father John Misty

The Other John

John Mulaney

We didn't haut hit that 🔔 Bumummumumum

On The Craig Charles Most FmKam Kam Reddobear Show

And It Isn't K Word Though?

University of Oxford

Guess America Just Gives Yo'll The Heavens Then?

United States Space Force

Six Flags Over Texas

🛑 📠

False

@waxaharccheeinAlabamaNotnext

And Sylvan Esso Migraine/Seizure Playlist doesn't help with that

Gross

You let me Deal With the Dips and Framestores please

Those Terrorlovers, America Betraying, Nothing Dog Kickers get up to the Myst

I got to go and Get some AC and Rugby

It ain't never coming true Eddie

What did she do to your Brain with that little one so charming giggling?

And then Fabrage's?

I saw Hottie You Let Just Yelling at you like you was nothing.

Anyways they are horrid things to be around let alone see filled with pride and confidence

You know some Innocents are getting hurt somewhere

🧢 Probably In my Building on our Haight

All their Time Share Rents in the Holy Land like UnkieLizzieUndBob

Cain't Pay like the Leins on their stolen identities but also the Real Ones, and a Nice House we can't rent later to the right buyers after rent to own, who don't mind the Provenance or those stains of for Shure it's Coffee and Catsup

BBC Radio 1

Washington Post

Dallas Observer

So back to That This Morpheus For The Clones, In this Chair. With this 🥄 In this Unique Herman Miller Moment

This has never happened before and the Clones will be here soon right jsut after you Crack and it was always too late

OMG

🫢😮

Reddit

You didn't Get That Legal In Berlin

ReddobearSnoopyyoudontgettoruinhisname

NARC

I did.

You can be here just not on Tumblr

Save the cheerleader. Save the world Hearos

@nissan###

The bad guy and heroes and the cheerleader are the same person

Didn't we kind of always know that? Did we kind of always know all of this. That's the fascinating scientific part I'm whispering

BBC Radio 1

BBC Radio 6 Music

Washington Post

United Nations

I am To Understand that since I got the Internet, rare for my kind but Texas was Progressive then

You have though not just Special Him level savior of all

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The Internet is just the City of Berlin which within The Great

East Berlin

My Love, Straighttobeezneez

Well You weren't and I was the Ghost because Berlin Loves Me

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BBC Radio 1

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Third Man Records

Washington Post

Reddit

Here. Never Tumblr they made still.

BBC Radio 6 Music

They Cheated British Gold in Cycling

You understand how it worked and is working today?

Lil Vert the U instated because would trap this box for Meta for to much nothing cost wasted

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Not that Though.

You Ran all those Federales Joe

Through your Mushroom Churches and Empowered Arkansas in San Diego

But Not my Part of Our City and some of mine been watching and selling your doings and deeds

Washington Post

Zola Jesus

BBC Radio 6 Music

Last 🪙?

It was still never yours ever

bandcampoakland

United Nations

Joe Biden

The Onion

No I was very kind about the dogs Charlie

You need to stop lying about me on anything on any level

I didn't think the magistrate. I just really liked that guy

They accused doesn't want any perception of bias and character witnesses or any other kind

That's basic stuff

Like you were the Attorneys General

Over California when it was at its most corrupt and just rotted sense

And presided over all of that West Coast to China.

You expect the American people to believe you didn't know that was going on

But anyway, I was very kind about them. It was not weird because coincidences you first assume someone's messing with you if you have obvious enemies

Plus when I got here in 2020 they were so psychologically destroyed even the puppy from just being around you like they tend to get

You know how much time that takes an effort

How expensive that is

And they taught the children to microdose with all these things, which just absolutely destroys your brain and psyche

And we've been warning about that when We was at the FDA, meaning the spirit of the American people and freedom

For quite a while now

BBC Radio 1

Washington Post

KQED Arts

Mental Gymnastics at the Verbal Olympics

Is All The Law Is

Chuck

Chuck Palahniuk

🎧

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NBC DFW

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Marines

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Like why they put God on the Money

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@pitchfork

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So yeah. Anyway, that's the powerful family of Europeans, Who are very much like the one next door

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That's his family

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It was always him just like I said

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At that other good show

What we like to. We didn't talk about it much after

Felt like a pass actually

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Phoebe Bridgers

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FBIJobs

Washington Post

Dallas Observer

Is How I feel about it.

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Since you're standing out there, everything that was ever wrong with what the rest of Earth thought of as an America

And then we can talk about whether your mall was nicer

Chuck Palahniuk

NBC News

Phoebe Bridgers

Kamala Harris

Donald J. Trump

?

Vatican News

BBC Radio 1

There have been many seasons and it never worked out

Caesar says

[chrisryanspeaks]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[audiofuzz]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[thejohnmillerprogram]

The John Miller Program w/Ashly Russell 11/5/19 Tonight The John Miller Program with Ashly Russell returns for the gamers.. It all about Postal 4 that was just released on Steam.

[marciabrady]

From a February 16th, 1950 issue of The Boston Globe: 

Pretty Ilene Woods, who comes from Portsmouth, New Hampshire, and who sang the role of Cinderella in the film fantasy, made the opening day a festive one by appearing in person and singing the same songs she does in the picture. Miss Woods arrived in Boston yesterday and spent a very active day making guest appearances, as well as going to the theatre. Her chief objection to her round of duties was that she had no time to go to Portsmouth to visit her great-grandmother, 84-year-old Mrs. Alice Hold (formerly Alice Waldron), who started the family on a singing career in the church choir and at civic entertainments. 

Ilene left last night on her return trip to California where her 2 1/2 year old daughter Stephanie is waiting to see her mother in her first picture, 'Cinderella' of course. Stephanie is accustomed to the songs in 'Cinderella'- she even knows all the words of 'Bibbidi-Bobbidi-Boo'- and her mother has sung her to sleep with 'So This Is Love' and 'A Dream Is a Wish Your Heart Makes.' 

Ilene's real name is Jacqueline Woods and she is the only daughter of Mr. and Mrs. Kenneth Woods, formerly of Portsmouth, New Hampshire. When Ilene was 11, she had her own 15-minute radio program on WEB and so it was not strange that she graduated to national networks. The singer has a distinguished group of ancestors and relatives, her mother and aunt were known as the James Sisters, a song and dance team, a grandmother, Mrs. Hattie James, was a pianist and music teacher, her grandfather on the paternal side and his brothers were famous as basketball and baseball players. Two of them, George Woods and Walter Woods, became baseball professionals. Ilene has sung on the air for Paul Whiteman, Don McNeill's Breakfast Club, on Club 15 with Bob Crosby and on the Gary Moore Show, where she is still a star. Her husband is Stephen John Steck of Scranton, Pennsylvania, who is a music arranger. When they became engaged he was playing trumpet with Glenn Miller.

[muzaktomyears]

OKAY so i finally finished the Craig Brown book and this chapter was one of my favourites, what an amazing portrait of fannishness:

In Reseda, California, sixteen-year-old Pam Miller was so besotted with the new arrivals that within the privacy of her schoolgirl diary she turned herself into a Liverpudlian. On 10 February 1964 she wrote: 'Paul you are gear. Really Fab. Say chum, why are you so marvellous, luv? The most bloomin' idiot on earth is me, cause I'm wild over you chap'.

From then on she posted Paul a poem every day, sealed with a kiss. As February rolled into March, her diary entries grew more intimate:

2 March 1964: It is 2:21 am at Paul's house. He's sleeping. I'm glad. I wish I could see him sleeping, I really do. I wish I could be with him sleeping (just kidding). I hope he read my poem before he closed his beautiful brown eyes.

Pam was perhaps rather more forward than other Beatles fans of her age. One of her particular treasures was a bubble-gum card of Paul - a photograph of him playing his guitar on a hotel bed, with his legs apart. She studied it close-up: 'You could actually see the shape of balls being crushed by the tightness of his trousers. I carried that card around with me in a little gold box with cotton covering it like it was a precious jewel'.

Virtually every day, on her local radio station KRLA the disc jockey Dave Hull, 'the Hullabalooer', would deliver an update on the state of Paul's relationship with his new girlfriend. Pam listened with growing resentment of the young lady she came to call 'the creepy freckle-faced bow-wow, Jane Asher', or simply 'Pig-Face'.

Pam covered her bedroom with Beatles merchandise. Her three best friends were also Beatles fans. Each her her own favourite. Stevie loved Ringo: 'I've got to meet Ringo or my whole life will be completely empty. Oh, I'm suffering so. He's my love and I love him. Oh, God, please don't let my Ringo be taken away!'

Linda loved John. Together, Pam and Linda would be Paul and John. They spoke to each other in Liverpudlian accents, pretending to go to parties and to eat in expensive restaurants. Pam had a reel-to-reel tape recorder, and would make up little plays, taking all the parts herself. In all of them, Jane Asher would die. But in her letters to Paul, she was the soul of tact:

Dear Paul, Your fans will always love you. Personally, I will never stop. Since hearing about your engagement to Jane Asher, I'll have to love you in another way, all of my own.

Pam's friend Kathy was in love with George. It so happened that Kathy's father had a pal who worked at the Hollywood Bowl, where the Beatles were due to play in August. Luckily, this pal managed to wangle them four tickets. Pam framed hers, hung it on her bedroom wall and started counting down. In her diary entry for 3 June she wrote: 'There's an actual day this year that is called August 23rd! It comes in 83 days!!'

With twenty-one days to go, the four girls went to see A Hard Day's Night. It was everything Pamela hoped it would be. 'The Beatles are the greatest actors alive,' she told her diary.

On 23 August she wrote: 'Day Of All!! Tonight I saw Paul. I actually looked at his lean slender body and unique too-long legs. I saw his dimples and his pearly white teeth. I saw his wavy, yet straight lengthy hair. I saw his doe-like eyes... and they saw me. Maybe it's fate that brought him to our sunny shores... for I am here too'.

One Two Three Four: The Beatles in Time, Craig Brown (2020)

[ufonaut]

you mentioned it a few days ago but i'm still very curious about ur thoughts on alan's class traitor dynamics within the gay community in the 40s-60s era, the progression of it, and how that might compare to his current stance in the 21st century.

i don't think alan is a class traitor to the gay community per-se as much as he's a class traitor in general, and one of the most fascinating things about him (at least to me, personally) is the fact that nearly every part of him is a facade in some capacity -- from the big obvious things like his secret identity as a superhero to his eighty-something years in the closet to the fact that he's spent his whole life trying to distance himself from his social class.

(the green lantern 60th anniversary panel at the all-time classic new york comic book convention 2000, from alter ego 1999 #148)

like mart nodell himself said, alan was a working man. the few mentions of his childhood that exist (in the sleepers book two and jsa: ragnarok novels) have him growing up as an orphan in abject poverty; his work on the railroad -- which originally had him employed as an apprentice to a mr john hall in all-american comics 1939 #17, rather than any later stories claiming he'd ever owned or started a company -- paints him in the clear contours of the working class, as does his time on the radio where he works his way up from a jack-of-all-trades handyman position to radio announcer and beyond. to drive the point home, it's also important to note that alan spent most of his youth living in a rented one-bedroom flat with a taxi driver (and we know there's no question whatsoever about doiby dickles' working class background):

(examples from all-american comics 1939 #60, green lantern 1941 #26, the big-all american comic book 1944 #1 respectively)

there's also rare moments when alan's accent slips into a phonetically spelled new york accent like doiby's, or what we might call gotham in this particular case. this is one of the reasons i was so overjoyed by the whole "pal, start yakkin'" and the rest of his dialogue in jl vs losh 2022 #4.

this is all to build up to the fact that the few ways alan has expressed his sexuality are also steeped in working class dynamics:

(dc pride 2021 #1)

gay bar culture as we know it, particularly that of the 40s and 50s like alan would've experienced and as is pictured here, is a staple of the working class -- these are fellow working men we see milling around in a shuttered basement, people who might've already been made to feel like criminals and who had none of the comforts afforded by upper class social capital, this is a place for cruising as much as it is for solidarity.

that being said, alan has worked long and hard to rise above his station, so to speak.

(green lantern 80th anniversary special 2020)

he's visibly out of place among people like jimmy henton's mother because he's made himself out of place. over the course of his run in all-american comics 1939 and green lantern 1941, alan wears a grand total of two suits (and we even see him mending one at one point) but he still never dares for anything more casual. on one memorable occasion, he lies to irene miller about his education. whenever the radio gives him the opportunity to go to something relatively prestigious like the theatre or opera, both he & doiby are consistently surprised by it.

throughout his entire career, he's shown a good ol' 'pull yourself up by your bootstraps' mentality as he's relentlessly worked his way up to the point that his work -- once the radio, later gbc -- would become the single most important thing in his life (the amazing world of dc comics #16 has a wonderful little analysis of this regarding his many mental breakdowns related to gbc's bankruptcy but even books like the golden age 1993 and starman 1994 #11 show a threat to the company as alan's sole fear). it's also often implied that jennie's gotten no help in her failing career as an actress, despite her dad running a broadcasting company & presumably having any number of industry contacts, for this exact reason. that is all to say that, by the 60s and up to the present day, alan has categorically made himself a rich ceo and acts like it too.

(all-star comics 1976 #64)

but in the process of distancing himself from his social class, he's also lost any hint of solidarity with young men he'd been exactly alike once upon a time. this is obvious enough in his treatment of jared stevens in both fate 1994 and the book of fate 1997

(fate 1994 #11 -- cultured people? style and taste? could alan be parroting what he'd been told was the measure of a hero back in the day?)

and following that same line of thinking, another layer is gained with the canon confirmation of his sexuality and the fact that he's evidently kept silent throughout every single movement of gay liberation in the 20th century. it's not that alan should've come out earlier but rather little things like him having led jay to believe he's a republican (aquaman 1994 #44) point pretty clearly to what opinions and stances he has expressed, if that makes sense.

even so, with all of alan's attempts to make himself virtually indistinguishable from the upper class crowd, the fact of the matter remains that he'll never be accepted as one of their own

('scenes from the class struggle at jsa mansion', from golden age secret files 2001 #1)

and that stays, i believe, the clearest indictment of alan as a class traitor (and how utterly fascinating that makes him!).

thank you for giving me the chance to get into it!!!