#Then my VW reverse bang

[revenantghost]

My brain: Hey how about this fucking badass AU idea

Me:

[tradingjack]

Yaay second piece for the vw reverse bang complete!! ✨️✨️ (ik it's a little late stfu)

My partner @tiltingplanet wrote the sweetest little fic to accompany this, they did a spectacular job and I really hope you'll check it out :D

(more doodles+alt version under read more)

[randishm]

What song do you listen to and just think screams batjokes.

I have two both by The Wombats.

Turn

Be Your Shadow.

I had to rewrite this twice because of tumblr😤 but I added those songs to my playlist thank you for sharing!! 😭❤

This reminds me of: Joker struggling with falling for Batman.

https://open.spotify.com/track/5hqK5evNmuLtIiQs4Z5N1M?si=XNELpSU4SUiPsGc9dvMK7Q&utm_source=copy-link

This is more like them dreaming of eachother

https://open.spotify.com/track/6SUPgdRKyyPBf2jNWYQbXk?si=D2YbdYhYRtq0TJKWSi3lMQ&utm_source=copy-link

Batman trying to understand Joker.

https://open.spotify.com/track/54zjAmM6zJoW8X0t8brP7u?si=sgYSAsDjQACI-smGOhz76w&utm_source=copy-link

Batman and Joker singing together

https://open.spotify.com/track/0mFSV2Bawz8i9wnlc9eYme?si=r_FzqLyIRgCJDWznRguptw&utm_source=copy-link

Joker singing this alone

https://open.spotify.com/track/6pVZR38m2UcizxA6YAnkw4?si=gdFAsw8FS9WZyhZyVuYKeA&utm_source=copy-link

Batman dies and Joker sings this (its hurts😭)

https://open.spotify.com/track/5yyQEHPb0BTElUrgeyGZ33?si=38LcPDBaT7-xOQyiE2xXMw&utm_source=copy-link

Joker singing this to Bruce on a phone call

https://open.spotify.com/track/6cs6lzFhsxAKbXQiuunOqp?si=opwFSuPJSOqpPEUUagjcTQ&utm_source=copy-link

This song reminds me of my first fanfic bonded by insanity (I want to rewrite it someday but it holds such a special place in my heart)

https://open.spotify.com/track/2IjXAdGBmdLQPPdZE7BBBq?si=4VH4npMaRnW5LuXwVKT-Vw&utm_source=copy-link

Now for a spicey songs👀:

HateF--k by the bravery

I hate you by simon curtis

Okay now for some honorable mentions

The drug in me is you by falling in reverse

You make me smile By Blue October (My absolutely favorite band!! I still dream of seeingthem in concert😭❤)

Heart go Bang by Blue October

How to dance in time by Blue October

Dirty imbecile by the happy fits: Joker ranting I cant get that out of my head like xD

Warn you by royal & the serpent

One more

Cover of Video Games by the young professionals

I wanted to make a animation of this but I may leave it for someone else to do so- basically Joker getting ready to leave his hide out because Bruce and selina are together and joker remembering his time with bruce. Joker ends up watching them from a rooftop into their window with his sniper rifle when the chorus goes "its you its you its all for you" joker kills them both then himself. That was my idea xD feel free to use it because its been sitting for many months and idk if I can create it the way i see it

[blakes-seven-or-so-blog]

S1 E12: Deliverance

SPOILER WARNING: Not a single banjo in this (or any other) episode.

Two guys are in the exact same model VW from Time Squad (but in much better condition and with the optional side windows). Servalan is surveilling the ship from her space station office and Doesn't Want To Be Disturbed. The VW guys pass the planet Soflon Cephlon and their mission is so secret, the passenger has no idea where they're going. As pointed out at Adventures with the Wife and Blake, he looks like a nicer, older Joffrey Baratheon.

The pilot gives some exposition on Cephlon, saying it was once a major civilization and interplanetary hub, and war reduced it to a primitive hole that may or may not be inhabited anymore. The ship loses control but they regain it, just in time for the controls to explode. VWs, amirite?

The crew of the Liberator watch the VW eject its escape pods and crash on Cephlon. Servalan watches too, with smug satisfaction. Some hideous cavemen are drawn to the crash site. Blake chews on his fingers while Zen says that the planet is breathable but very radioactive and probably inhabited by mutants. Avon is wearing the shiniest parka ever. In a pinch you could turn it inside out and use it as a solar oven. Or you can shake him over a campfire and he’ll pop into a magic treat. He takes Blake aback by challenging his leadership.

There aren't many teleport bracelets left:

↑  (Episode 3) 32 bracelets

↑  (Episode 12) 7 bracelets

That rack was full when they first found the Liberator, but they've been losing and handing them out like parade candy. The second season is just them going to all the places they left bracelets and getting them back. (Just kidding.)

Jenna and Gan find a steel door set in a hillside, like Bag End if it was in a post-apocalyptic wasteland, and which reveals a peephole after they leave. They then find one of the escape pods, and Gan declares the guy dead without even checking his pulse. They take his wallet. Avon and Vila find the other pod; the injured pilot has crawled a few feet away to pass out. Vila wonders if he'll live through the 'teleport stress'. Wait, what?

Cally is relaxing to music with a Sony VRman when Avon calls for teleport. She brings Avon, Vila, and the pilot, and then Gan. Once again, no one notices that one of the team is missing for several minutes. The cavemen rifle through Jenna's pockets while she lies unconscious, her bracelet INCONCEIVABLY having fallen off.

Last time it was Jenna who was operating the teleport and didn’t notice Cally was missing. This time it’s reversed. Now, I’m not saying this is a case of payback, for surely Cally is above such petty retribution, and they’re friends now, right? It’s just a coincidence. Auronar are extremely unforgiving but it’s totally a coincidence.

They go back to look for her and find only a large footprint and Jenna's necklace and bracelet. Blake looks through the dead guy's wallet and it turns out he was a surgeon with suspiciously high security clearance. They search the dying pilot and find some batteries he was bringing to his dying father on the planet Aristo. He says to tell his father that the Feds have agreed to pay a fortune for 'ORAC'. He holds Cally at gunpoint and forces Blake to take the Liberator to Aristo, leaving Jenna, Avon, Gan, and Vila stuck on the radioactive planet.

Servalan makes Travis grovel a bit and offers him a chance to regain his command. She's got a genuinely evil scheme to get ahold of Ensor's creation ORAC while bilking both him and the Federation. The scheme involves sending the surgeon who saved Travis's life and gave him the sexy face crust and robot laser arm to his death, which upsets Travis.

Turns out he did care about someone. Aww, man. I pity him again.

Servalan lounges like a cat while explaining how she has already murdered Travis’s buddy, and will have his family enslaved. Her office wall is made of the exact same textured panel that lines my shower.

Travis tells her, "You're almost as ruthless as I am." OH HON, Servalan had all her ruths executed years ago.

The cavemen throw rocks at the stranded Liberator crew and they escape into the steel hill door, which miraculously opens. A beautiful lady wearing a gauze dress starts blissfully quoting scripture at them and bows down to worship Lord Avon. He finally found someone who appreciates him and is a bit unnerved, but everyone knows that when you stumble into a cult and they think you’re God, you go with the flow.

Meanwhile a caveman flirts with Jenna by sexily banging two rocks together.

Meerkat Meegat has been waiting her whole life for the Messiah to show up, or anyone who wasn't a gross caveman really. Fun fact: When you stroke Avon's ego as hard as Meegat does, it makes a faint squeaky sound like a balloon.

She leads them into a candlelit control room full of computer consoles. The prophesy says that Someone will show up eventually and know how to Bring Deliverance a.k.a. save their race from extinction a.k.a. work the computers that will launch the rocket full of embryos to a new, less wrecked world. Let's hope they aren't homicidal road warriors.

Turns out all they had to do was reset a circuit breaker to make the computers work. Lord Avon may be the Promised One, but Gan is the Sensible One and reminds everyone that they need to find Jenna before they all die of radiation poisoning. Lord Avon holds Meegat’s hand (probably to keep her from kneeling again) and it is super cute.

His conscience kicks in right before he can take advantage and kiss her. Gan and Vila remind Lord Avon that they're useless in a fight. Avon performs a godlike tent-wall knockout, they fight off a pack of cavemen and with Jenna, escape back into the hill.

The dying pilot finally dies and Blake races back to rescue his crew. Avon fulfills his destiny and launches the rocket. He also apologizes sincerely to Meegat for making her wait her whole life for boring old him to show up and press ‘SEND’.

Back on the Liberator, Avon wants to know where the embryos are going and if they'll be okay. Blake tells him that he too knows how it feels to be a god and didn't like the responsibility either. Lord Avon is not amused and stalks off.

At first I thought Blake was referring to his cult status as The Rebel Who Fights The Federation, but I wonder if he might be talking about a specific incident, such as in ‘Duel’, when he had control over Travis’s life or death at the end.

Damage report:

- Ensor, Jr - the surgeon Maryatt - a caveman or two - Lord Avon's ego which burst in a plume of prayers and rocket exhaust

Eight episodes ago they dumped the payload of embryonic road warriors, but now they take care to send this lot on with best wishes. I GUESS it evens out the score.

This is one of my favorite first season episodes. Yeah, Duel is great, but this one always has me giggling at Meegat's earnest and misplaced adoration, and I love seeing Avon get uneasy when someone fails to hate him. Everyone says he could have taken advantage of Meegat, and he struggles a little not to, but deep down he does have a conscience. At least for now.

It also sets the scene for the following episode, where we meet the 8th ‘or so’.

Next: Orac

[un-enfant-immature]

Driving Volkswagen’s all-electric ID Buggy concept

The VW electric ID Buggy concept is delightful and bright, stout and smiling. It’s a vehicle fit for the sunshine and sand dunes, or perhaps a less committing slow roll along the beach.

And so my first drive in a prototype of the all-electric buggy — along the coast near Spanish Bay in Monterey, Calif., — was tinged with sadness. After all, the ID Buggy is just a concept. It’s not meant for this world. At least not right now.

There is still a chance that the ID Buggy will make it to production. VW is already in talks with “at least one company” to bring the buggy into production, TechCrunch confirmed.

The global debut of the ID Buggy concept at the 89th Geneva International Motor Show in March was meant to showcase VW’s electric future and demonstrate the versatility of its modular electric drive toolkit chassis, or MEB. The MEB, which was introduced in 2016, is a flexible modular system — really a matrix of common parts — for producing electric vehicles that VW says make it more efficient and cost-effective.

The first vehicles to use this MEB platform will be under the ID brand, although this platform can and will be used for electric vehicles under other VW Group brands such as Skoda and Seat. (The MEB won’t be used by VW brands Audi or Porsche, which are developing their own platform for electric vehicles.)

VW has shown off several ID concepts. Some of these, like the ID Crozz and ID Buzz are going into production. A production version of the Crozz is coming to the U.S. at the end of 2020. Others, like this buggy, are not currently on the production track.

Driving the ID Buggy Drive

The ID Buggy is simple, and that’s exactly what it should be. No clutter or whiz-bang creature comforts. Instead, this leisure vehicle inspired by the 1960s era Meyers Manx has no roof or doors — although a tarpaulin can be stretched between the windscreen frame and the Targa bar as a sun sail or light weather protection. Without doors, the driver climbs in, and with relative ease, depending on one’s general fitness and flexibility.

The ID Buggy towers over its inspiration — the iconic Meyers Manx buggy that became popular among the California beach-and-surf culture of the 1960s.

The ID Buggy was also a quieter, smoother ride than the Meyers Manx. I also spent some time in a classic bright red buggy with a four-speed manual transmission and gas engine that might have been a touch carbureted. While the Manx roared as I shifted into first and peeled away, the electric ID Buggy was silent and smooth as it rolled out of the sandy parking lot.

The main detail inside the ID Buggy is the lack of features and do-dads. The hexagonal steering wheel, shown above, isn’t littered with toggles; there are just a couple of controls on the crossbar. A small integrated stock to the right side of the steering wheel allows the driver to move the vehicle into drive, reverse and park. A digital instrument cluster provides the basic information like speed.

Even the brake and accelerator pedals continue this stripped-down design story. 

The dashboard and the passenger area are just as void of features. This lack of “stuff” is more about function than form, although the matte green and textured grey blue at the bottom does make a visual statement. The ID Buggy is meant to be driven in the elements, rain or shine. And so designers made the interior waterproof.

Under the ID Buggy’s body is where the good stuff lives.

The rear-wheel drive buggy is outfitted with an electric motor that produces 201 horsepower and a maximum torque of 228 pound-feet. It has a 62-kilowatt-hour battery that can travel 155 miles (under the WLTP standard) on a single charge. There is not an EPA estimate for the range. It can accelerate from a standstill to 62 miles per hour in 7.2 seconds.

Unfortunately, this prototype had a kill-the-thrill speed limiter on it, scuttling my plans for a zippy ride along the coast.

Still, the ID Buggy offered a fun and easy, breezy ride. It handled the curves of the roads with ease and its wide body and higher rear end provided a sense of security even while driving amid other much larger passenger cars.

Building the ID Buggy

It’s unclear what company, or companies, are in talks to produce the buggy. VW wouldn’t give names; not even the ocean breeze and cloudless sky or the endless supercar eye candy were enough to loosen the lips of VW employees during Monterey Car Week.

It’s possible that this unnamed company is e.Go Mobile. VW announced in March that e.Go Mobile would be its first external partner to use its MEB electric platform to launch other EVs in addition to Volkswagen’s model range. A dedicated vehicle project is already being planned, VW said at the time.

A VW spokesperson told TechCrunch there’s no decision about which car will be produced under this partnership with e.Go Mobile. It could be the buggy; it could also be some other vehicle.

And then there’s Ford. Earlier this year, the two automakers announced a partnership that includes Ford producing electric cars based on the MEB developed by Volkswagen.

The VW folks on the ground in Monterey did express hope that a third party does build the buggy, or a modified version of it. As one spokesperson later told TechCrunch, “As the drive in Monterey showed, the Buggy is a great ambassador for Volkswagen and for e-mobility. I am sure it would find a lot of customers.”

In the end, the ID Buggy is a sleek cruiser rather than a beach bomber like the 1960s original. It successfully demonstrates the versatility around VW’s electric platform. After all, Volkswagen foresees critical parts in the ID Buggy used to power multiple consumer electric vehicles in the near future. And it’s a fair assumption the ID Buggy’s production cousins will have a bit more gadgets, including silly things like doors.

[ipaintiwriteiplay]

20 years ago today my band Angelou released their first record, the ‘Hallelujah’ E.P. on Haven Records.

I’ll never forget that time in my life. Jeff Buckley, a big musical influence of mine, had just died. I’d been a devoted (ok, I admit it, an obsessed) fan of his for the previous 2 years. I’d written to him in 1994; he replied with a postcard from New York. I’d gazed up at him adoringly at Cambridge Junction in 1995; I still have his towel.  And in June 1997 I was 27 years old and about to get my first break in the music industry, releasing my first record, our own version of ‘Hallelujah’, recorded in the winter of 1996 when Jeff was still very much alive.

Rolling back the years further, 23 years to be precise, it’s my 4th birthday and I’m banging away on my new tin drum kit to Gary Glitter’s single ‘I Love You Love’.  That day the die was cast, I was going to be a rock and roll star.

It was probably inevitable I’d fall in love with rock and roll. I was born at the end of 1969, the year of Woodstock when the Beatles were still bigger than Jesus, glam rock and disco were about to strut their stuff, and a punk revolution was on the horizon. All in the space of 6 years.  

My parents had jived and twisted their way through the late 50’s and early 60’s: Mum was an art student, Dad was a beatnik. By the time I was born my dad was a sound-man at Thames Television.  This meant I got to play with bits of recording gear and hear all about the musicians he worked with. When I say musicians, I mean, Musicians.  Before I was born it was The Stones in the Brian Jones days, The Kinks, Sandy Shaw, Dusty Springfield, Marianne Faithfull. By the time I popped out it was T.Rex, James Brown, Abba; the list was endless. My big sister still has the EMI demo he brought us back from Teddington of a new artist he’d just recorded, a young girl called Kate Bush

But back to my little drum kit:  I loved that little gem of a thing. I loved it so much I took it everywhere with me, including outside. I can still hear that fatal, hollow crunch as my Mum reversed her VW Beetle over it.

Next came the guitar. I was 5 years old and I’d just been to the dentist to have two teeth out. My wonderful Mum knew just how to appease her little girl, and so on the way home I was allowed to choose a toy from my favourite toyshop. I picked a guitar.   Possibly the best thing, next to a pencil, I could ever have picked up.   My sister played piano, but you couldn’t run around stage with one of them round you neck, could you? It had to be a guitar.  Now I was ready to rock.

Fast-forward 22 years to 1st May 1997, it’s Election Day in England, and Tony Blair is set to win. I’m sitting in Abbey Road Studios with my best friend, and band mate, Jo Baker, and we’re mastering our Buckley influenced version of the Leonard Cohen’s song ‘Hallelujah’. Jeff is over in Memphis preparing to go into the studio with his own band, to have another crack at his second album, and it’ll be a few years before Rufus Wainwright, k.d. lang and everyone and his aunt covers ‘Hallelujah’.  

It’s hard to imagine, isn’t it. But back then ‘Hallelujah’ really was one of those best-kept secrets. Jeff was an underground artist in the UK, the Internet was in its infancy, and you discovered new music through word of mouth or the listening posts in your local record shop.  

Leap forward another 20 years to today, it feels good to know we were the next in line to release that song in the UK.  Feels even better to think my first record will always be connected to someone that significant in my life. 

So here I am pondering it all. Pondering the future of music and musicians, because music has changed so much in my lifetime. When I signed my first deal records were physical products protected by that format.  It gave all kinds of musicians the chance to have sustainable careers.  With the arrival of digital downloads that ended. The gates were left wide open. Now people could duplicate artists’ works ad infinitum, at no cost, which basically made recorded music worthless.

But, it’s not all bad. There are positives to digital. I managed to record my last album in my shed on my old MacBook, for a start. Now I’m currently painting in my wooden house. I’m fortunate because I’m not relying on music to support me anymore. I do it for the love. But for those who are just starting out, I feel for them, I really do.  

Signing off on a positive note, next time a new band or artist offers you a free download, ask them how much they want for it, and be generous if you can: because if they don’t value it, how can you?

[foghcreech45-blog]

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[tradingjack]

"Even from where he stood, Vash choked on the growing smell of death. Wolfwood looked like he should be dead, too.

After all, any normal human would be."

one of my pieces for the vw reverse bang :P the linked text leads to the fic that the wonderful Umbr_el_on wrote for this that i had tons of fun reading and rereading :D (don't worry it has a happy ending <3)

[revenantghost]

Well. Y'know, despite everything, I somehow finished my VW reverse bang fic

[revenantghost]

*rubs forehead* Okay. Okay. What if I finished Untitled E Fic, pushed Kittenwood off my plate for now (because it bothers me I had to drop it, but because the WIP's not posted and no one's waiting on me to finish it, it's less of a priority--I just wanted to prove to myself that I could and Kittenwood is adorable lol), finished Hallowboned (I MISS IT SO FUCKING MUCH, LIKE. EVERY DAY), did my VW reverse bang fic (my partner has the best idea y'all ain't even ready), and then. I worked on this one. Because so much of the plot is already done, and this is some unhinged absolutely Trigun-bonkers shit. Vash is an unholy god-like being rotting away with the souls of a world in his broken hands, Wolfwood is a dog to a dead world, a dead people, and a dead dream, and Meryl is a badass ressurectionist that uses teeth to rebuild bodies, like

I want to write this so bad, man.

My brain: Hey how about this fucking badass AU idea

Me: