#Wishbone for sale

[those-pony-vibes]

Thrift haul! Most of these are still for sale! Message me on my Toys Sales Instagram | My Collection Insta

[fflaminlo]

GRRR I DONT WANT TO GO TO WORK !!! I WANT TO DRAW MORE PONIES !!!

sigh.. nextgen designs from this weekend :)) suggest more pairs in the tags

[the-trans-folk-witch]

The Green Devil of the Ozarks: The little green fairy of... moonshine?

It was 2005. I was with my grandfather in an old shop similar to "dick's 5 and 10" outside of Branson, Missouri. This is where The Green Devil caught my eye.

My grandfather frequented little old fashioned stores like this. He loved collecting all kinds of gadgets. Old movie posters, salt water taffy, and soda parlor paraphenalia. It was heaven on earth to him in this little corner of the world that was stuck in an older Ozark time. His house wasn't too dissimilar to a crackerbarrel gift shop. All kinds of wooden toys and dolls. He loved his little knickknacks. But on that day he found it. A copy of an old French absynthe poster with "the little green fairy" smirking at the viewer. He had to have it. It was being sold for $8! frame included! If only the seller knew the true value of it. Or how it's mere existence was breaking so many copyright laws.

Maurin Quina, as it's named, is a French apéritif advertisement painted by Leonetto Cappiello in 1906. The drink was made illegal soon after its creation. But this poster is now being reused today. It was not well known in the US at all back then. Not even in the 2000's. but my grandfather being a moonshiner, absynthe fan, and art history drop out, knew all about it.

My grandfather was not as religious as the rest of my family. But he sure prayed to God when he was trying to avoid the law. He was selling homemade moonshine without any sort of license or proper knowledge of sanitary practices. It was an arte form he learned from his father that I never had the pleasure of learning.

He decided to hang this new poster up in his storm cellar where he kept his aging bottles of various liquors. Over time it developed A life of its own. My grandfather would kiss his hand and place it on the poster of the little green fairy after every jar was sealed or sales were made. I Don't think he saw this as devil worship so much as just a simple good luck ritual. Not too disimilar to his high school basketball team kissing the image of their mascot before a game. He always practiced these superstitions even though he didn't seem to really believe in them.

Fast forward to today. I'm an Ozark trad witch. So of course I now work with this image as if it is the devil himself. He is a devil that rules spring and summer. Drunkenness, poison, lunacy, fairies, and nature. He is associated with law breaking, alcohol, healing, harming, and fertility. With Easter coming up He is on my mind heavily. A time I feed him red dyed eggs symbolizing the blood of christ and the blood of good Christians. I feed him this with intentions of causing those which share the eucharist to lust. Poisoning the church so to speak. I attend mass in spirit form and dip my blessed turkey wish bone down in the communion wine. The turkey is symbolic of love in the Ozarks. And the wishbone is horned like the stang, and my devil. Midnight mass on Easter is filled with drunkenness and sex. Those consuming this spiritually poisoned wine are consumed with lust for others in the church. An orgy ensues in the great house of God. Only for all members to awaken Easter morning with no memory of the incestuous rituals performed with their brothers and sisters in christ. To do such things in the house of God and not confess them (due to not remembering) is damanble. This is my goal as a witch. To bring the witches Sabbath to the church and to pervert the souls of good men.

By turkey wand and lustful stang I complete my work in the devils name.

A call to the Green Devil:

"Envy is his name. Drunkeness and poisoning are his arte. He is Lord of the little people and plants alike; come little green fairy and bring your lust and your lunacy. Green devil rise from the roots below like a serpent. Green devil come down from the tree tops like a booger in the night who takes its flight. Join me in this witching hour oh beast of the green and hear my call to the wild. By my witches flame may it be so."

Look out for a post on the black and red devils later this year. Our horned one changes with the seasons

[jensdogscustom]

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Jack Russell Terriers are a tenacious and curious breed. They, along with their brother breeds the Parson Russell and the Russell, relate back to Reverend John "Jack" Russell who was a parson and a hunter in 1790. The Jack Russell is a taller and leaner version of his hunting terrier. Notable media members of the breed are Eddie from Frasier and Wishbone from PBS!

If you'd like to see the rough coat version of this artwork and four colors of both designs, visit the website! There are also links to Redbubble and Teepublic, both of which are having a summer sale! Anything on Redbubble is currently 25% off, that includes the Jack Russells and ALL my designs! Have you been wanting to do your whole bathroom in pictures of your dog? Now's your chance!

#dog#doglover#jackrussell#jackrussellterrier#art#jenstoart#jensdogs#jensdogscustom

[thedepartmentofdiscoveries]

Hammond, William (Bill) - Wishbone Ash Stash, 2010.

Source: https://www.stuff.co.nz/the-press/entertainment/christchurch-arts/4209996/Bill-Hammonds-visionary-artworks

Hammond, William (Bill), Jingle Jangle Morning, 2006.

Source: https://www.aasd.com.au/artist/45-william-bill-hammond/works-in-past-sales/

Bill Hammond - The Fall of Icarus, 1995, Acrylic on canvas. Collection of Christchurch Art Gallery, purchased, 1996. Reproduced with permission. Source: https://christchurchartgallery.org.nz/events/bill-hammond-the-fall-of-icarus-1995

Bill Hammond born William Hammond (29 August 1947 – 30 January 2021) was a New Zealand artist who was part of the Post-colonial Gothic movement at the end of the 1990s. He lived and worked in Lyttelton, New Zealand. The theme of his works centred around the environment and social justice.

Hammond was born in Christchurch on 29 August 1947. He attended Burnside High School. He went on to study at the Ilam School of Fine Arts of the University of Canterbury from 1966 until 1969. Before embarking on his career in art, he worked in a sign factory, made wooden toys, and was a jewellery designer. He also had a keen interest in music, serving as the percussionist for a jug band.

Hammond started to exhibit his works in 1980, and went back to painting on a full-time basis one year later. His first solo exhibition was at the Brooke Gifford Gallery in Christchurch in 1982. In March 1987 he showed for the first time at the Peter McLeavey Gallery in Wellington, an exhibition followed by over 20 others.

One of Hammond's best known work was the painting Waiting for Buller (1993). This was in reference to Walter Lawry Buller, the first New Zealander ornithologist who wrote A History of New Zealand Birds in 1873. Hammond was particularly interested in the contradictions in Buller's life, in how he documented birds while being a hunter and taxidermist. Another noted piece of his was Fall of Icarus (1995), which explores the effects of the colonisation on the country, and is exhibited at Christchurch Art Gallery. The Guardian described this as "his most famous work". His painting Bone Yard, Open Home (2009) was the largest single piece of canvas he painted, with a width of more than four metres.

The overarching theme of Hammond's work was social and environmental issues. Specifically, it touched on the imperiled state of both, as well as the destruction brought on by colonisation. His paintings feature two common themes: references to popular music and gaunt creatures with avian heads and human limbs. The characters in Hammond's paintings, which were often anthropomorphic animals, rarely move away from their natural habitat and are in no hurry. Humans are notably absent from his works during the later part of his career, which was influenced by his visit to the Auckland Islands in 1989. Two signature colors employed by Hammond were emerald green and gold. He was also at the forefront of the Post-colonial Gothic movement. This ultimately became "one of the most influential tendencies in New Zealand painting" at the turn of the 3rd millennium.

Hammond eschewed giving interviews and guarded his privacy. He died on the evening of 30 January 2021, at the age of 73. He was labelled as one of the country's "most influential contemporary painters" by Radio New Zealand.

https://en.wikipedia.org/wiki/Bill_Hammond

[deepwaterwritingprompts]

uh so i know it's not request time so feel free to ignore this, but I broke my arm a couple weeks ago and just got the cast off yesterday (i still have to have a brace, but, you know, still) and I was wondering if we could get some a prompt about bones (broken or otherwise)

it was NOT request time BUT i do hope you feel better AND its halloween the first tomorrow SO i collected all the ones ive already written! bones.

“If you dream about the meadow, dig for my bones,” he whispered, “and bring one back, if you can.”

A ship made of whalebones had crashed on the rocks and washed ashore. I just happened to be looking out my window when it happened.

I saw a deer climb out of the frozen river, antlers cracking the ice from below, moving as if its bones were barely attached to each other. 

You had to watch the ground for wishbones. Breaking one even by accident would unleash hell, for better or (usually) worse.

I had one of my bones stolen, as a child. Only for an hour or two, but the experience changed me forever.

My town is normal I think, except for the river. The entire riverbed is covered in bones, which we collect for playthings, crafts, and ceremonies.

The desert remembers. It coughs things up, like earth oceans are said to wash things ashore. Assorted bones. Wrecked sand ships. And of course, me.

When the sea thaws in spring the first rib bones wash ashore. My friends and I always break one, for luck.

 Bones grow up from the ground, piercing our town, the cold white ribcage of a curious, otherworldly god. Every day I grab my saw, and get to work.

Strange people, and I’m sure they are people, emerge from the corn on Sundays. They swear they have every sort of thing for sale in there, long lost paintings, and bottled sunshine, and nice sturdy bones.

We learn something new every day, in the desert. Bones are good for bartering, doesn’t matter whose they are. Dead trees are usually hands, just pretending. 

Bones talk. Figuring out how changed science forever. It changed everything, forever. 

“I need my bones read.”  “But you’re still alive,” says the young man, looking me up and down. “I was hoping you could work around that.”

A pure white squirrel brings small bones to my cell window. I collect them, putting them in order, one by one.

Once a year, my father and I summit the mountain at dawn to feed the whales. In the fading starlight, their song echoes like a premonition through my bones.

A customer comes in asking for bones. I tattoo them on her skin where they would go in reality, one every few months, in an order she refuses to explain.

When I need extra bodies, I turn the hens into girls. They stand as soon as their bones have cracked into place, clumsy, screeching, and ravenous.

The city was protected, built on the bones of an ancient hero prophesied to rise again.

My bones scraped and creaked as they rearranged themselves hastily.

The way she moved in the water was beautifully inhuman. I realized it was because she had no bones. 

The Skeleton Garden was just what it sounded like. Hoards of wildflowers had sprung up through the bones of those who had tried and failed to flee.

Our neighbor was a beautiful girl who lived alone and wouldn’t take a compliment. “My bones are rotten,” she would say, sadly.

A desperate man once asked me, ‘where do the bones go?’ I didn’t know. I was only the collector.

As a child wandering the woods, I found a set of bones. They bid me take one home, and fashion it into a knife. 

She only wanted a quiet life. But there was lightening, quite literally, in her bones.

[no1-pogi-americano]

The 1960 MG MGA 1600 Roadster is a British sports car that was produced by MG from 1955 until 1962.

The MGA replaced the MG TF 1500 Midget and represented a complete styling break from MG's earlier sports cars. Announced on 26 September 1955 the car was officially launched at the Frankfurt Motor Show. A total of 101,081 units were marketed through the end of production in July 1962, the vast majority of which were exported. 5869 cars were sold on the home market, and the MGA was replaced by the MGB.

The MGA design dates back to 1951, when MG designer Syd Enever created a streamlined body for George Philips' TD Le Mans car. The new bodywork traded the MG TF's articulated fenders and running board for ponton styling, with a single styled envelope fully enclosing the width and uninterrupted length of a car.

The TF featured a high driver seating position. A new chassis was designed with the side members further apart and the floor attached to the bottom rather than the top of the frame sections. A prototype was built and shown to the BMC chairman Leonard Lord. He turned down the idea of producing the new car as he had just signed a deal with Donald Healey to produce Austin-Healey cars two weeks before. Falling sales of the traditional MG models caused a change of heart, and the car, initially to be called the UA-series, was brought back. As it was so different from the older MG models it was called the MGA, the "first of a new line" to quote the contemporary advertising. There was also a new engine available, therefore the car did not have the originally intended XPAG unit but was fitted with the BMC B-series engine allowing a lower bonnet line. The MGA convertible had no exterior door handles, however the coupe had door handles.

It was a body-on-frame design and used the straight-4 "B series" engine from the MG Magnette saloon driving the rear wheels through a four-speed gearbox. Suspension was independent with coil springs and wishbones at the front and a rigid axle with semi-elliptic springs at the rear. Steering was by rack and pinion. The car was available with either wire-spoked or steel-disc road wheels.

While the make (or marque) is MG, the model was named MGA by John Thornley in 1954.

This is a comparison of a 1960 MGA 1600 and a 1962 MGA 1600 MKII. Here's the further detail of the red 1960 should you be interested in seeing more of it.

[bluesey-182]

me? ordering wishbone earrings bc i was obsessed with daughter of smoke and bone as a teenager? even though i should 100% not be spending money? but they were on sale for $4? yeah....

[axesent]

With the expansion of the model program in the 90s, Volkswagen shifted its focus to high-tech solutions in volume. It is therefore not surprising that even the smallest series – of the Lupo – became a technology carrier: with the three- cylinder money diesel in 3 liters, the direct petrol injector FSI and the GTI with 1.6- Liter four-valve. What VW boss Ferdinand Piëch was not enough: In 1998 he had – implant a real high-performance engine in the Lupo 15 years after the sharp trade wind –, which brought extensive new constructions with it.

Because the engine compartment of the Lupo surprisingly offered more space than the Polo, a 1.8 turbo could be accommodated there. No, not the five-valve with 150 HP as he was in Golf and Passat – the 225 HP EA113 engine of the Audi TT had to be forced into the front compartment! As a precaution, the front axle was moved forward by 15 mm, which minimally increased the wheelbase. Incidentally, a VR4, which was about to be ready for series production, was originally intended to be the basic engine for Lupo, Polo and Golf.

However, the front-wheel drive was not expected to bring the power completely onto the road. Whereupon an independent all-wheel drive – was developed, which has been known since the end of the 90s, Haldex system – and a redesigned underbody. Also new were the longitudinal double wishbone rear axle ( from Golf IV Syncro ) with differential lock, the wheel suspensions and disc brakes all around. An MQ250 six-gyng gearbox ensured the power transmission. Finally, more than 230 km / h of peak were determined for the 1,140 kg wagon.

For the light, more fluid body, you could use assemblies from the Lupo Cup racing vehicle. Larger intakes take into account the increased need for cooling air. Fender widening arches around the wide 2015/40 WR16-Zöller ( Dunlop ) to 6.5 J 15 rims. The track width grew by 25 mm at the front and 80 mm at the rear. The tank is filled using a quick release. The interior with the two racing bowl seats and the red Schroth belts – behind it a net-shaped cover of the luggage compartment – is bristling with colored accents. Including the » Lupo Sport « lettering – embroidered everywhere up to the cover of the warning triangle and first aid kit. None other than ItalDesign had supported the mold optimization.

It was seriously considered to bring the small speedster, which was designed as a two-seater, to the market as a » Sport « model in small series. But market research predicted too little sales – too bad. After all, the bright yellow car was seen as a pace car at the DTM – then the project was put on file. And forget. Here in the Volkswagen Classic magazine it is brought back into the public eye for the first time.

[diabolus1exmachina]

Ferrari LaFerrari 'Signal Green' (for six years it was owned by Jay Kay.  For sale in 2019). 

Unveiled at the 2013 Geneva International Motor Show as a replacement for the Enzo, the Ferrari LaFerrari was a technological tour de force that took the world by storm. Maranello's first production model to be equipped with a hybrid power unit, the sixth-generation hypercar was the fastest and most powerful road-going Ferrari ever. It was, and remains, one of the greatest achievements in the marque's 75-year history.

Compared to contemporaries such as the Porsche 959 and Bugatti EB110, the first Ferrari hypercars had been conservative designs. For all their astonishing pace, the 288 GTO and F40 had lacked headline innovation, focusing instead on a back-to-basics ethos of minimal weight and colossal power. With the subsequent F50, the Prancing Horse had abandoned the traditional spaceframe in favor of a more futuristic carbon fiber tub, but there was little else to whet the appetite of techno freaks. Its successor, the Enzo, upped the technological ante. The first Ferrari hypercar to feature an automated paddle-change transmission and active aerodynamics, it represented a radical leap compared to the outgoing F50. The Enzo was an up-to-the-minute interpretation of what a flagship sports car should be all about. And then along came the game changer.

Based around a carbon fiber monocoque designed by F1 technical director Rory Byrne, the Type F150 LaFerrari adopted an enhanced version of KERS (Kinetic Energy Recovery System), which had been used in Grands Prix since 2009. Like any other hybrid set-up, KERS employed electric motors in addition to a traditional petrol engine. With an electric motor delivering maximum torque from zero rpm, the benefits included noticeably stronger acceleration. Kimi Räikkönen had emphatically proven this in Formula 1 when his KERS-equipped Ferrari stormed past Giancarlo Fisichella to win the 2009 Belgian Grand Prix—Fisichella attributing Räikkönen's win to the hybrid system.

Dubbed HY-KERS, the production version in the LaFerrari mated a 120-kilowatt motor to a 6,262 cc 65-degree V-12 to deliver quite extraordinary results. Delivering a combined 950 horsepower and 715 lb ft of torque through a seven-speed dual-clutch Getrag transmission, the car could accelerate from 0-100 km/h in a mere 2.9 seconds. The manufacturer claimed that 0-300 km/h could be dispatched in 15 seconds, while top speed was an astonishing 350 km/h. Even more startling, however, was the car’s pace around the Fiorano test track, where it was said to lap more than five seconds quicker than the Enzo. Such pace was in no small part down to the brilliance of the hybrid set-up. With HY-KERS taking care of low-down torque, the engine could be tuned for maximum power at high revs without the car becoming a temperamental prima donna. As a result, Ferrari engineers were able to produce an engine that was more potent than the Scuderia’s last V-12 single-seater, in a car able to cope with city traffic.

To ensure the thundering performance was accessible, electronic traction control was integrated with the hybrid system, and there was a third-generation electronic differential. The double-wishbone front- and multilink rear suspension was equipped with active damping, while the Brembo carbon-ceramic brakes measured a huge 398 mm at the front and 380 mm at the rear. The Pirelli P-Zero front tyres were an equally vast 265/30 R19, but were nonetheless dwarfed by the 345/30 R20 rears.

Drawing from the Grand Prix team’s expertise in computational fluid dynamics, the composite body continued the high-tech theme. Produced in-house alongside the Scuderia’s F1 racers, it was as aerodynamically efficient as it was beautiful. The vast scallops on each flank served to extract air from around the front wheels, increasing the downforce created by the active front diffuser, as well as channelling air to the rear-mounted radiators. A guide vane in the underbody automatically reduced flow to the front radiator to reduce drag, while dynamic air intakes on the haunches boosted ram effect for an additional 5 horsepower at speed. At the rear, a computer-controlled spoiler optimised drag and downforce, while dynamic diffuser flaps helped “suck” the car onto the road. This electronic gadgetry added up to 360 kilograms of downforce when cornering at 200 km/h, reducing it to 90 kilograms in a straight line at the same speed.

Remarkably, the carbon fibre monocoque boasted a 27 per cent improvement in torsional stiffness compared to the Enzo, yet was some 20 per cent lighter. In spite of the HY-KERS with its eight 15-cell battery modules, the LaFerrari was no larger than its predecessor, while the centre of gravity was lowered by 35 mm—providing further improvements to balance and stability. Visually, the whole was tied together into a tautly styled berlinetta that combined hints of classic racing icons such as the 330 P4 and 312 P with exciting flourishes from the modern Formula 1 era. In creating the LaFerrari body, form very much followed function, yet never has the application of science looked quite so stunning.

[pastafossa]

11 14 20 23 27 30: is there a pricey item you have bookmarked on the off chance it goes on sale,if so,what is it?

11. Anything from your childhood you've held onto: yes! I've got some books (I still have my first Black Stallion book and my first Redwall book!), a plush toy Wishbone, a stuffed bear named Mr. Bearly, a jewelry box from my Grandma, and this big sparkly glass gem my grandparents passed on to me that I loved looking at when I was little. ❤

14. Do you think you're dehydrated: KAMSMSKSMSM MAYBE yes yes i am

20. Favorite Disney Princess movie: MULAN HANDS DOWN. I literally named a kitten after Mushu when I was a kid! 🐉 I felt very seen by her because she was a fighty princess and as a half feral child who idolized Xena, seeing her fight the Huns was awesome.

23. Do you wear jewelry: YESSSS! Bracelets, necklaces, and rings! Would have ears too but they're lumps of scar tissue thanks to Claire's. 😒 All jewelry is generally either fandom jewelry or animals including dragons and stuff.

27. Do you have a favorite or go to outfit? Favorite is my Defenders shirt cause MATT AND JESS, with a good pair of jeans, my silver converse or boots, and a red beanie or ballcap depending on season!

30. Is there a pricey item you have bookmarked on the off chance it goes on sale, and if so, what is it: Ooooh this is interesting! Yes, I do! Most recent is the newest pokemon game but I'm also watching some of the Daredevil helmets on Etsy - they're SO gd cool, NEED ONE. Most pricey might be a couple of the bootleg Hot Toys and Hot Heart Daredevil figures from China. That shit is EXPENSIVE but every once in a while there's a steal on ebay, which is how I got my S3 Matt figure!

[cyanide-latte]

Got to thinking again today about pirating media and how many people make it about a moral quandary and how we here on Tumblr tend to be very gung-ho about pirating and this time in particular it boiled down to what I think the root is of why I'm largely okay with it.*

(*please take note, this post is about pirating platform-exclusive movies and shows. I do not support or condone piracy of books, comics/graphic novels or manga unless literally no other option is available to you. I've been a teen who had no choice but to read awful scanlations for manga growing up because I wasn't able to or allowed to purchase physical copies or even borrow them from the library. So I know that struggle, and I'm sympathetic to a degree. But please support your libraries, ask the librarians to teach you how to use the system, and use it to help support authors and artists before it is a legal and free way that actually helps. If you are in a situation where you have literally no choice for now, I recommend being responsible and trying to either buy the physical books when you can to help make things up or use a library when you are finally able to and borrow the materials, in order to still show support.)

This is probably my age showing but when I was a kid, we recorded shit on the VCR all the time. Buying actual movies was still something we did when we could, but in the 90s, stuff on VHS could get as high as $40 [USD] sometimes. Not all of them were, but the prices tended to be high enough we couldn't really afford to buy them ourselves; those had to be asked for as Christmas or birthday gifts, and even that wasn't a guarantee we'd open a rectangular gift to find a brand-new clamshell of the newest Disney movie.

But you know what we could afford to get? Blank video tapes. Depending on the brand and the length of the tape strip, they could cost as little as $3.99, and you could often get multiple blank tapes for a decent price. (I vaguely recall a half-dozen pack of tapes for maybe $25? We got a few of those when I was around 7 or 8 y.o.) And we would use that "Record" function on the VCR. We caught movies on the TV way less often than we would have liked because without a TVGuide or knowing someone who kept up with movie showtimes on various channels, you were kind of at the mercy of fate and fortune. Plus, we rarely tried to record a TV run of a movie if it was one we knew we REALLY wanted to buy on VHS.

Ah but shows! Shows we could generally depend on. You learned what channel(s) it played on and when, and you'd time it so you could record your episode(s), commercials included, and stop recording at the end of it. Presto! I could watch my episodes of Batman the Animated Series or Wishbone whenever I wanted. I'd have it forever (well, for as long as the tape can last anyway) even if the show went off the air and it didn't get any real VHS release. Lots of shows did get VHS releases, but they were limited to maybe three random episodes per tape, and were not usually for regular sale at most retailers; they were on the shelves of rental video stores and we couldn't keep them.

Until we got a special VCR that allowed us to record a copy of a tape onto one of our blanks. Again, not an endeavor we really did with movies, but when the family decided we were going to move in the future and wouldn't be sure we'd have a Blockbuster or Hollywood Video or Family Video wherever we were moving to, there'd be a burst of going to the nearest rental chain and carefully picking the tapes we knew we loved and wanted to be able to watch again, renting them for a couple of days, and putting that copy/record VCR to work before returning the proper copy back to the video store. Or if some friends had a movie and we wouldn't see them again, there was often an offer to record copies of their tapes. Didn't happen often but it was a handy solution to the desire to have access to the media in the long-term, and it wasn't looked down on as far as I can ever remember, because everyone recorded stuff on blank tapes and none of those people had no major moral crises about making copies in order to have the movies/shows they loved.

Now, when DVDs came out, things got a little bit different. DVD players and DVDs were expensive at the start, so the cost of all VHS tapes gradually started dropping. As with pretty much anything, pirating DVDs took off before long and soon just about every DVD had that in-your-face message about piracy, reminding you that copying and selling bootleg DVDs was illegal and "piracy isn't a victimless crime". I only vaguely recall being annoyed with DVD piracy, because what bootlegs I tended to see were extremely bad quality, and it was more annoyance at the idea that you could be swindled out of your money for something of barely-watchable quality. (I was 10 at the time and had not ever yet had to face the idea I could one day fall victim to being swindled myself, cut me just a little bit of slack there.) But to me it didn't really seem any different than what everyone I knew or ever interacted with did with VHS tapes. Selling the bootlegs to make your own profit, that I did eventually get; a chunk of a movie or show's success soon came to depend on DVD sales, and for a while I was very anti-piracy in that regard. But I never saw an issue with like, making DVD copies to trade with friends if we were able to do that.

Now it's 2022 and we are so inundated with streaming platforms left-right-and-center, I don't have regular TV channels or cable or satellite. I use a streaming platform to find what I want to watch, or a pirating site if what I want to watch isn't available otherwise. I also have a very large DVD and Blu-ray collection, and I use them regularly. And, the more and more so many streaming platforms release "exclusive" movies or shows that you won't be able to watch anywhere else and that they have no intent of making physical releases of? The more and more I find myself reverting to the mindset I had as a kid, wanting to make a copy of that Swan Princess tape we could only find at Blockbuster but couldn't afford to constantly rent. It isn't that I don't want to support the movies or shows themselves, or the people who pour themselves into making something I love. I want to support them in any way I can, including watching it on the platform if I have access to said platform.

But sometimes those platforms just...quietly remove the titles they've carried. Sometimes they jack their prices too high and I can't afford to keep paying that fee month after month because it stacks over time. Most often, I want to collect the media physically so I have the opportunity to revisit it in the future whenever I want, especially if I have a friend who has never seen it or even had access to it before. Physical media is wonderful, and there's something special about owning it. It's the same kind of special magic that it's always been about when I was 10 and could hold a freshly recorded VHS tape with episodes of Xena: Warrior Princess on it and know it was mine now for keeps.

This has already been quite a lengthy ramble and it's very colored by a sense of nostalgia, but for once I think that nostalgia really has come in handy for explaining why my outlook on something like pirating shows and movies is the way it is. I don't like this platform-exclusive direction; it's more or less just another paywall that can prevent entire swathes of potential audiences from connecting with movies and shows, and at this point, it's becoming almost too much for me to keep up with. So no, I have no moral quandary about cancelling subscriptions at some point and pirating episodes and movies and burning them onto a physical copy for keeps, and any reservations I used to have about buying bootlegs? Gone. I've seen blu-ray bootleg releases of platform-exclusive media that are much higher and more accessible quality than some official stuff, especially the made-on-demand stuff. At this point, I gotta respect the hustle and I can't complain about someone who burns a DVD better than I could.

Yo ho ho, y'all.

[achillez-on-pawz]

A Little Bit of a Fear Factor

Cw: Descriptions of gore.

My last bit of the art trade for @mc-squeaky-boots I patiently await for what you bless me with!!

Once you step in, you set in place a certain series of events First, if you come out, you're not the same. And second, most won't reach the first. You enter the woods, you ignore the warnings, you are supposed to understand Did you understand? A crack, a snap. It treated you like a wishbone. You never stood a chance. You squished, like gum underneath its shoe. You rotted, like fruit in a forgotten bowl. And you were left, like a toy in a garage sale. I don't think you understood.

[huggableflesh]

Super hero setting ramblings: H.E.R.C.A.L.E.S

The Acronym stands for Homeland Economic Regulation of Commercial Anomalous Legal Exchange and Supernatural goods.

Alright imagine its the early nineteen hundreds the second world war of anyone's life times just ended and the economy was finally starting to recover, superhumans were rapidly coming back home from war not just to acceptance but reverence from the people or at a minimum begrudging respect and acceptance one of the worst economic crashes in recent history was clearing up things looked good and they only got *better*. In 1945 a small child Catalyzed with a power that bordered on miraculous.

Wishbone, a name created when they were five that would stick with them well into adult hood their power was the ability to grant wishes. Not quite at will, not quite at a target of their choosing it's limits weren't exactly known but it was semi uncontrollable from what people could tell

People around them, or sometimes no where close were finding themselves holding a no strings Attached wish. Golden yachts, mountains of diamonds, cornucopia of infinite food and hotels that could somehow always make space for new guests and we're self cleaning. Wishes we're being granted left and right maybe not exactly how they were asked for or in a roundabout way but they were granted.

Then came the next child born to change the face of a continent was in Africa, One Amara Nkase at the age of five Catalyzed the ability to teleport things other then themselves . Despite discovering this ability they didn't realize how few limitations it had until one day they wished long and hard for a cold drink on a hot day and found a can of coke suddenly in their hands.

The girl discovered that while inability to teleport themselves or other people was a major limit of theirs, it was one of the *only* limits they had.

Rapidly with the help of their parents the girl had formed a business empire that had made every other form of shipping and locomotion obsolete almost instantly, for a time world hunger had been solved entirely. In-between infinite sources of food and entire aspects of public infrastructure being supplanted so Wholey it looked like the world was heading towards a golden age.

Sadly it wasn't too last, after 40 years wishbone died and Amara had fallen into a coma, in less then a year decades of what seemed like utopia started tearing at the seams.

Their powers didn't stop immediately, no wishbones wishing trinkets still worked and things born of wishes didn't suddenly cease to exist, it's just they no longer were connected to that seemingly infinite power source that charged all of the miracles people had been taking for granted.

people fell into panic, Cornucopias of infinite turned into cornucopias of "Only a few storage containers worth" of food.

The portals that previously were programmed to respond to outside stimuli, allowing the area it lead to be changed with the simple wave of a colored flag or a code became stuck to the last setting they were on.

The world went to shit fast, it was if electricity and running water suddenly stopped world wide (not to say that didn't happen in a few places).

But that's a different story, as governments scrambled to get the industries that had been growing moss for the last forty years back on their feet many many governments decided that never again could their country become so wholey reliant on the abilities of a single super human to function.

It wasn't the same in every country, nor did it have the same name but most places scrambled to get something akin to it.

In America we have H.E.R.C.A.L.E.S which dictates that the closest relevant governmental authority may place arbitrary restrictions on any business based on the sale of goods or services reliant on abilities unique to an individual.

The intent of bill was to prevent the economy from ever growing so dependent on a single schmuck with super powers that their death causes a national disaster, this isn't quite an outright ban but if any rogue Catalyst edges too close to too many major business they may end up being forced to have a maximum amount of clients they can take at a time or minimum prices they're allowed to sell their products for in order to make them arbitrarily expensive luxuries.

Later this bill would be expanded to effect any supernatural power not potentially available to the wider populace, which is to say pretty much all of them.

Now then from an out of universe context this law was created mostly as an explanation for why most businesses aren't employing superhumans with non punchy powers left and right or why no superhumans with incredible but not quite combat useful powers has made a killing.

Notably I also didn't want to make the government stupidly evil, the ban doesn't include charity or government contracts which are often used to supplement businesses while intentionally making sure to not drive them out of business.

No heroes with as massive consequences as wish bone or Amara have showed up or if they did they didn't get the chance to effect the world like they did.

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Wishbone was on sale 3 for somethin', so I got some and since I figured I should expand my tastes a bit I got the honey mustard "dressing" and frankly it's kinda mid.

It really is more dressing flavored like honey mustard than honey mustard sauce in a dressing bottle. Not much body to it and it has too much vinegar taste, like you can taste that it's a salad dressing. Sadge, but oh well.