#best drone 2021

[queen-of-the-avengers]

Shine Bright

Pairing: Bucky Barnes x Star!Reader

Word Count: ~4k

Warnings: fluff, angst, being kidnapped and almost killed, but then fluff again

Summary: Hydra wants to reign eternally, and the best way to do that is to eat a falling star's heart. They knock you out of orbit but didn't expect the Avengers to find you first.

Squares Filled: stars (2021) for @buckybarnesbingo

Author’s Note: This takes place during or after FATWS, but I've made John evil, and everyone who died post-Endgame is alive and well.

I am absolutely in love with the movie "Stardust", so I decided to base this story on that! The picture down below DOES NOT represent the reader at all, I just wanted to showcase the movie.

x

The sky above is still and peaceful. There isn’t a cloud in sight that allows visibility to whoever looks up at it. John Walker looks through the telescope and positions it on the star Hydra is targeting. If he wasn’t on a mission right now, he’d appreciate the stars shining brightly for their human audience.

“John, is everything in position?”

“On my end. What about yours?”

John looks at his coworker who is in charge of the missile they plan on using for this mission. The man tweaks the numbers and aligns them with the correct star.

“We’re ready.”

All eyes turn to Valentina Allegra de Fontaine. She is in charge of this whole operation under the assumption this is for the CIA. She sits at the large desk in the middle of the room, leans back, and rests her hands in her lap.

“Fire away, gentlemen.”

John and his coworker turn the machine on and launch the missile at the star. John rushes over to the telescope and watches as it flies into the sky, breaks off into tiny pieces, and zooms straight into the heart of the star. Instead of blowing it up like most missiles do, it knocks the star off its orbit and sends it straight down to Earth. Whatever John is seeing through the telescope, everyone can see on the monitors in the room so that Valentina can see what’s going on.

Everyone watches it fall straight to Earth to a place they don’t know. They can’t predict the crash site for something as big as a star but it won’t be hard to track it down. Once they figure out where it is, they’ll have so much fun dissecting it for what they truly need it for.

It was Tony’s idea that the entire team kick back and relax after a hard working week. Sam and Wanda brought out the board games that can account for a lot of people since everyone lives at the compound. The only one not here is Thor but that’s because he has duties to complete on Asgard.

“Okay, this time, don’t cheat,” Tony says to Sam.

“Hey, that was one time and I was trying to get Steve.”

The game they’re playing is Cards Against Humanity, something they all love to play—adult edition. What’s a good night in with alcohol and friends if not for an inappropriate game?

“Bucky, you in or not?”

“Yeah, pass me some cards.”

With everyone on board, the game can get started. The first few rounds were hilarious and the next couple was causing a lot of people to drink. Tony loves to put a spin on his games. If he can get people to drink, then a lot of people are getting drunk. By the tenth round, everyone is relaxed and willing to kick things up a notch.

Tony brings out a Truth or Dare drinking game when something bright lights up the night sky.

“What the hell is that?” Clint asks.

Everyone gets up and gathers around the window to watch it fall to the ground. It lands not far from the Avenger’s Compound but far enough to where they can’t see it.

“Tony, Sam, let’s check it out,” Steve says seriously.

Tony and Sam get suited up while Steve fetches his shield. Steve catches a ride with Tony to travel two hours from the Compound in Madison County. There is a big crater on the ground from the impact of the white light, and the three men tread carefully over to it. Steve’s shield is in front of him ready to protect him, Sam’s drone, Redwing, flies next to him cautiously, and Tony’s repulsors are ready and waiting to be fired.

Tony expected to see some kind of weapon in the middle of the crater but instead of a thing, it’s a person--you. You’re wearing a white dress that goes down to your feet, and you have a white glow about you. You groan in pain just as the light dies down and you look up at the three men staring at you.

“What the hell happened?” you ask.

You look to the sky to see your sisters shining in the night sky. How the hell did you get from up there to down here?

“Who are you?” Steve asks.

“My name is Y/N. Who are you?”

“Steve, Tony, and Sam. What happened here?”

“I don’t know. One minute I was shining in the sky and the next I’m down here and in pain.”

“Shining in the sky?”

“I’m a star. I was minding my own business and someone knocked me out of orbit.”

Steve, Tony, and Sam walk down the crater’s walls and toward you cautiously. They still don’t know if you’re good or not until you get up and reveal what’s been behind you this whole time. A shell of a missile that has the Hydra symbol on the side of it.

“We need to get her inside. If Hydra wants her, then she must be special. We can’t just leave her here.”

“Leave me here? What the hell is going on here?”

“If Hydra wants you, it’s for a reason. We should get you inside before they come looking for you.”

Going with them beats sitting here and waiting for someone bad to find you. Everyone who was left behind waits eagerly for the men’s return, and they’re shocked when they return with a gorgeous woman. You’re scared of the many unknowns of your situation: who are these people? What do they want from you? Who is after you? Are you in danger? Will these people hurt you?

“Who is this?” Natasha asks.

“The white light.”

“Here, sit,” Steve offers, and you take a seat away from everyone else. He knows you’re scared so he’s trying to make this as easy as possible for you. “She’s a star.”

“A star?” Bucky asks with two eyebrows raised.

“As I said to them earlier, I was living peacefully in the sky when something knocked me out of orbit.”

“Hydra knocked her out of the sky. They must want a star.”

“Why? What’s so significant about a star?” Bucky asks.

“There’s lore around shooting stars,” you explain. “For centuries, people have tried to get stars to fall to Earth for their hearts. If our hearts are consumed, it’ll grant the person a sort of immortality. No one can live forever, but our hearts can extend life for centuries. Many of my sisters have fallen and died because of it.”

“Hydra must want to reign for a long time,” Steve theorizes. “Listen, why don’t you stay here until we can figure out how to get you back into the sky.”

“Can we even do that?” Natasha wonders.

“There’s a way. It’s complicated but there’s always a way.”

“Bucky, why don’t you show her to the room next to yours.”

“Sure.”

“Thank you,” you sigh and follow the man with a metal arm. He’s very quiet and doesn’t talk much which you relate to. “I appreciate your kindness.”

“Sure. Let me know if you need anything.”

Bucky leaves you alone in the room and you sit on the bed in thought. You never sleep at night and allow yourself to rest during the day so you’re not tired at all. Bucky looks at you before he leaves but pauses. You look so scared and nervous that he can’t help but walk back into the room to be with you. He sits next to you on the bed and wipes both hands on his jeans.

“I was once new here. I didn't know anyone besides Steve. I’m gonna help you figure out a way to get you home.”

“Thank you,” you smile.

The rest of the night is uneventful but right before the sun rose, your eyes started to droop. All of your sisters are sleeping as you’re supposed to be, but the Avengers are so loud you can’t fathom sleeping with this noise. If Hydra wants you then they must have a base somewhere to hold the equipment to knock a star out of orbit. All that equipment will take a lot of money to acquire and a lot of space to hold, so they all come up with places that can be potential bases.

“Ah, there she is. We need your help,” Tony says and waves you into the room.

“What are you guys doing?” you sigh and slump over to them.

“We’re trying to figure out where Hydra’s base is. If we can, then we can plan an attack before they try and come for you.”

“Great,” you sit down and place your chin in your hand.

All of them start talking over one another creating a small headache to form.

“Y/N, I know you’re tired but can you remember where the missile came from? If we can get a sense of direction, we can narrow potential places significantly.”

“I’m not tired, Steve, I’m exhausted. I never stay awake during the day. I need to sleep and rest but you’re all being so loud,” you sigh.

“Come with me,” Bucky offers.

Bucky leads you past both your rooms and to a wing of the compound that rarely is used. This place is the farthest from where anyone is gonna be. There is a spare bedroom down here that Bucky takes you to, and he opens the door for you.

“You’ll be able to get some sleep here. I come here when I want to be alone. It’s quiet.”

“Thank you, Bucky,” you smile.

Your entire body shines slightly to show how happy you are but Bucky doesn’t think much of it. You’re a star. You’re supposed to be shining. All he does is give you a friendly smile and leave you alone to rest. It’s easy for you to fall asleep and you stay asleep for the whole day. When the sun goes down, your body wakes you up to start shining. Then you remember where you are and your glow dims.

You’re ready to take the night on and wander until you find the majority of the Avengers. They’ve been working hard all day to figure out where the Hydra base is and are now taking a break to watch a movie.

“Hey, sleepyhead,” Tony says when you enter the room.

“Got room for one more?”

Bucky moves over so you can sit next to him, and you blush slightly when your leg brushes up against his.

“Did you find out where Hydra is located?”

“No. They have defense walls that aren’t coming up on our radars, but we have Friday constantly looking for a way in.”

“Who’s Friday?”

“My AI,” Tony answers.

He turns the movie up so everyone can hear it, and you turn to Bucky with a shy smile.

“Thank you for letting me use your space,” you whisper.

“I don’t mind.”

“What movie are you guys watching?”

“Dumb and Dumber. They love it.”

You try to get into the movie but you’re not connecting to it as much as you hope to. Everyone laughs at the same time when something funny happens but not you. You’re not sure if you fit in well with this group. Humans have always been part of your fascination but you only know of the evolution of them, not them personally.

“Excuse me,” you whisper and get up.

Bucky watches you walk off toward our room without another word. He knows more than most what trying to fit in feels like and how bad he can feel when he doesn’t. He leaves his friends and follows you to your room. You’re sitting on the balcony and staring at the night sky where your sisters are.

“I promise I’m coming home. I’m figuring out a way to do that,” you sigh.

They twinkle to let you know they hear you.

“Mind if I join you?” Bucky knocks on the balcony doors.

“No.”

“Are you okay?”

“I’m not really a group person.” Bucky sits next to you on the lounge chair. “I’m more of a loner. I didn’t have any planets orbiting me, and the closest star to me is my sister Vega. She’s such a sweetheart.”

“Yeah, I’m more of a loner, too.”

“My sisters are the only ones I can count on, and they’re watching over me right now to make sure I’m okay.” 

Bucky looks up and they twinkle so he can see where they’re located.

“When you were in the sky, could you watch over humans?”

“It was my favorite thing to do. I’ve watched humans grow since they first arrived. I see the value in human life because it ends. They’ve come a long way from where they first started.”

“I’ve never met a star before. You’re pretty nice and beautiful.”

Your body shines a bit at his compliment.

“Thank you. Stars are pure and innocent despite the violence and horrors we see on a daily basis. We represent everything good about the world. We represent beauty.”

“I can tell,” he smiles.

Your body shines a bit more the more you are happy being here with Bucky. The stars in the sky shine a bit brighter when they see their sister happy.

Hydra hasn’t made a move against the Avengers over the course of the following week because they’re not sure how they can approach the situation. Valentina knows exactly where the star is and she can’t charge in like she normally would. The Avengers are powerful that deserve careful planning and strategy to overcome.

 Meanwhile, you and Bucky have grown closer. When you’re not sleeping, you’re spending as much time with Bucky as you can. There is only a short amount of time you can spend with him before one of you needs to sleep. In the beginning, you were only allowed a couple of hours to be with him, but now you’re spending half a day with him. You’re slowly starting to fall asleep later in the morning and waking up later in the night. It’s something you’re willing to change in order to be with Bucky.

“Tell me something,” Bucky says.

You two are lying on the roof of the building admiring the night sky which is sure to come soon. Your skin is glowing brightly that if whoever were to look up at the roof, they’d see nothing but a white glow.

“What?” you ask and look at him.

“I know that stars shine but do you get to choose when you get to? I’ve seen you with and without.”

“I shine when I’m happy,” you say with a bright smile, “and I’m happy right now with you.”

You and Bucky stay on the roof until there is no more sunlight left in the sky, and you yawn tiredly.

“Tired?”

“A little bit.”

“Let’s go back inside.”

You and Bucky head back inside your room to get ready for the night, and you look at your bed in thought.

“You know, I haven’t been sleeping well. I’ve been transitioning into sleeping at night so I’m still struggling a bit. I might be able to sleep better if it were next to you.”

Bucky holds his flesh hand out, too scared to use his metal hand for fear of breaking you. He takes you to his room where you two get comfortable underneath the sheets. He’s shocked he can sleep with you shining next to him but it gives him a sense of comfort knowing you feel safe enough with him to shine.

The next morning, you wake with a smile on your face and your skin glowing.

“This is the first time I slept through the night.” You look beside you but Bucky isn’t there. The brightness dims on your skin until it looks normal. “Bucky?” You get up and walk around the compound in search of Bucky, and you find him in the main room where the other Avengers are. “What’s going on?”

“We found Hydra’s base. Nat’s gonna stay here with you,” Tony declares.

Your eyes immediately find Bucky’s.

“You’re not gonna stay here with me?”

“I know Hydra like the back of my hand. I have to go with them.”

“Oh, okay.”

Tony, Steve, Bucky, Wanda, and Sam get geared up to go while you and Natasha stay behind. She’s decked in her gear just in case something happens. She has the capabilities to keep you safe since you’re not a fighter--you’re a lover. You don’t think you could fight even if you wanted to.

“So, how long have you been with the team?” you ask.

“Too long.” You look away in thought and bounce your leg nervously. “Look, I haven’t known Bucky for very long but he’s trying. He used to be one of the bad guys but he’s doing a helluva lot more good to make up for the bad. He knows how to handle Hydra. He’s going to be okay.”

“I know,” you nod with uncertainty.

You and Natasha make conversation for the next couple of hours when the alarms start blaring inside the compound.

“Stay here.”

“You’re leaving me alone?” you gasp.

“I’m sure it’s nothing. Just stay here and don’t move. I’ll be right back.”

Natasha is gone before you have a chance to question her further. You wait nervously for her to come back because you have no clue where she is, what’s going on, and who is inside the compound. After an hour of waiting around, you get up and look out the window. Everything seems normal as if there isn't an intruder inside. Footsteps near the room you’re in, ad you turn to the door waiting to see Natasha.

The door opens and you smile.

“I was beginning to worry.”

The smile is lost when you see a strange woman with four soldiers around her.

“So was I. The easy part was tracking you down. Stars have a bit of… aura about them that is easily tracked. The hard part was infiltrating this place. I had to make sure I had all my bases covered. You’re coming with us.”

“No,” you stand your ground.

“No? Emilio.” One of the men takes out a tablet from one of the pockets and flips it open. He presses a few buttons and shows you what’s on the screen. All your friends are tied with Hydra soldiers all around them. Of course, you’re worried about all of them but you can’t help but look at Bucky. “Either come with me or your friends will be killed.”

You have no choice but to go with her.

The woman, Valentina Allegra de Fontaine, leads you through the large Hydra base to a big room with a staircase leading up to a small landing. A large table is on the landing with a  medical cart next to it. There is nothing but different sizes of knives--knives that will be used to cut your heart out.

“A shining star’s heart is the way to go, but I’ll settle for your scared little one any day of the year.” You’re only doing this because you’re scared of what these people are going to do to Bucky if you fight back. You’re forced onto the table where Valentina straps you down so you’re not tempted to leave. “Don’t worry, darling. I’ll make sure to make it quick and painless.”

She grabs one of the sharpest knives and walks over to you. You close your eyes and send a quick prayer to your sisters in hopes they can hear you. She raises her knife when the double doors slam open. You both look to see Bucky storming in with his deadly gun.

“Bucky!” you smile and shine brightly at the sight of him.

“Get him!” Valentina orders.

A dozen guards make their way into the room and start shooting at Bucky who is more than prepared to handle them. Bullets fly as your concern for Bucky grows. However, he seems to beat every single one of them as he makes his way closer to you.

“Emilio!” Valentina yells.

The big guy who was with her earlier steps into the room with two charged electric gloves. His metal armor makes him immune to the bullets Bucky is firing at him, and he gives him an uppercut when he reaches him. Bucky goes flying across the room and uses his vibranium arm to slow his descent down the walkway.

Emilio and Bucky meet in the middle as they fistfight for your honor. There is no way Valentina is cutting your heart out now. She wants to see how this fight is gonna end. She is pretty confident that her soldier is going to win against the Winter Soldier, but oh how wrong she is. The double doors bust open and Wanda comes in with red magic at her fingertips. Tony and Steve are behind her ready to fight whoever they need to in order to save you.

Red magic encases Emilio to hold him still while Bucky delivers a deadly punch to the bottom of his jaw. Emilio is thrown across the room and knocks into a mirror, and he slides down it unconsciously. Valentina sees the urgency of the situation and raises the knife.

“Tony, heads up.”

Steve rears his shield back and throws it in Valentina’s direction, and Tony shoots his repulsors at the shield to make it fly the rest of the way. Valentina tries to escape but is hit before she can find coverage. She falls to the ground completely knocked out. Bucky runs up the staircase and over to you with an easy smile.

“You really thought I’d let you get sacrificed?”

“I’m glad you’re okay.”

Bucky undoes your ties and helps you off the table, and the both of you run down the staircase to the other Avengers. Before you can reach them, all the doors that lead into the room slam open. Dozens upon dozens of guards come in with their weapons, weapons that can kill everyone here. There are too many guards for Wanda to control and too many for them to take on.

They might not be able to but you can. You pull Bucky into you and wrap your arms around his neck.

“Hold onto me and close your eyes.”

“Why?”

“What do stars do best?” You pull him down so that his face is nestled into the shape of your neck. “They shine.”

Your entire body shines with the intensity of a real star. Your teammates cover their eyes to protect themselves but the same thing can’t be said for the Hydra soldiers. Your light kills whoever dares look into it, and the soldiers in the very back leave as quickly as they can before they can succumb to your light. You pull away from Bucky and dim your light knowing that these soldiers aren’t going to hurt them anymore.

After Valentina is apprehended and taken back to the States for punishment through the CIA, Bucky returns back to the Compound with you by his side. There is a lot of paperwork that Nick Fury has to fill out, and Tony and Steve offered to stay behind to scour through the base and see what kinds of things Hydra has been up to.

The night sky is shining brighter than normal because your sisters are happy for your safe return.

“They say thank you for saving me,” you say to Bucky.

“No problem,” he says to the sky before looking back down at you. “She’s worth saving.”

“You know, these last two weeks with you have been amazing. If I’m being honest, I’m having second thoughts about going back. I don’t want to leave you.”

“I don’t want you to leave either.”

You wrap your arms around his neck and he pulls you in closer by your hips.

“Maybe staying here for a while longer won’t be so bad.”

He slides one hand up your body to your jaw which he cups. He leans down and kisses you with such intensity that causes butterflies to erupt in your stomach. The stars twinkle in the sky as your own light shines brightly for all to see.

x

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[mariacallous]

Alexei Navalny returned to Russia in January 2021. Right before he boarded the plane, he posted a film titled “Putin’s Palace: The Story of the World’s Largest Bribe” on YouTube. The video, nearly two hours long, was an extraordinary feat of investigative reporting. Using secret plans, drone footage, 3-D visualizations, and the testimony of construction workers, Navalny’s video told the story of a hideous $1.3 billion Black Sea villa containing every luxury that a dictator could imagine: a hookah bar, a hockey rink, a helipad, a vineyard, an oyster farm, a church. The video also described the eye-watering costs and the financial trickery that had gone into the construction of the palace on behalf of its true owner, Vladimir Putin.

But the power of the film was not just in the pictures, or even in the descriptions of money spent. The power was in the style, the humor, and the Hollywood-level professionalism of the film, much of which was imparted by Navalny himself. This was his extraordinary gift: He could take the dry facts of kleptocracy—the numbers and statistics that usually bog down even the best financial journalists—and make them entertaining. On-screen, he was just an ordinary Russian, sometimes shocked by the scale of the graft, sometimes mocking the bad taste. He seemed real to other ordinary Russians, and he told stories that had relevance to their lives. You have bad roads and poor health care, he told Russians, because they have hockey rinks and hookah bars.

And Russians listened. A poll conducted in Russia a month after the video appeared revealed that one in four Russians had seen it. Another 40 percent had heard about it. It’s safe to guess that in the three years that have elapsed since then, those numbers have risen. To date, that video has been viewed 129 million times.

Navalny is now presumed dead. The Russian prison system has said he collapsed after months of ill health. Perhaps he was murdered more directly, but the details don’t matter: The Russian state killed him. Putin killed him—because of his political success, because of his ability to reach people with the truth, and because of his talent for breaking through the fog of propaganda that now blinds his countrymen, and some of ours as well.

He is also dead because he returned to Russia from exile in 2021, having already been poisoned twice, knowing he would be arrested. By doing so he turned himself from an ordinary Russian into something else: a model of what civic courage can look like, in a country that has very little of it. Not only did he tell the truth, but he wanted to do so inside Russia, where Russians could hear him. This is what I wrote at the time: “If Navalny is showing his countrymen how to be courageous, Putin wants to show them that courage is useless.”

That Putin still feared Navalny was clear in December, when the regime moved him to a distant arctic prison to stop him from communicating with his friends and his family. He had been in touch with many people; I have seen some of his prison messages, sent secretly via lawyers, policemen, and guards, just as Gulag prisoners once sent messages in Stalin’s Soviet Union. He remained the spirit behind the Anti-Corruption Foundation, a team of Russian exiles who continue to investigate Russian corruption and tell the truth to Russians, even from abroad. (I have served on the foundation’s advisory board.) Earlier this week, before his alleged collapse, he sent a Valentine’s Day message to his wife, Yulia, on Telegram: “I feel that you are there every second, and I love you more and more.”

Navalny’s decision to return to Russia and go to jail inspired respect even among people who didn’t like him, didn’t agree with him, or found fault with him. He was also a model for other dissidents in other violent autocracies around the world. Only minutes after his death was announced, I spoke with Sviatlana Tsikhanouskaya, the Belarusian opposition leader. “We are worried for our people too,” she told me. If Putin can kill Navalny with impunity, then dictators elsewhere might feel empowered to kill other brave people.

The enormous contrast between Navalny’s civic courage and the corruption of Putin’s regime will remain. Putin is fighting a bloody, lawless, unnecessary war, in which hundreds of thousands of ordinary Russians have been killed or wounded, for no reason other than to serve his own egotistical vision. He is running a cowardly, micromanaged reelection campaign, one in which all real opponents are eliminated and the only candidate who gets airtime is himself. Instead of facing real questions or challenges, he meets tame propagandists such as Tucker Carlson, to whom he offers nothing more than lengthy, circular, and completely false versions of history.

Even behind bars Navalny was a real threat to Putin, because he was living proof that courage is possible, that truth exists, that Russia could be a different kind of country. For a dictator who survives thanks to lies and violence, that kind of challenge was intolerable. Now Putin will be forced to fight against Navalny’s memory, and that is a battle he will never win.

[dustedmagazine]

Weak Signal — Fine (12XU)

Weak Signal has been my pick for “best rock band you never heard of” for a few years now, and this fourth full-length only strengthens the argument. It pulls their clanking, grinding VU-ish drone in new and intriguing directions—an acoustic blues folk a la Aquarian Blood, a guitar-heavy clangor akin to Crazy Horse—without sacrificing any core competencies. It adds some guests, including Hot Chip’s Alexis Taylor, Doug Shaw of Gang Gang Dance and Cass McCombs, without diluting the locked in synchrony of its three founding members.

To review, Weak Signal is a three-piece led by Mike Bones who is linked to some cool NYC noises via an association with Endless Boogie and a stint with Soldiers of Fortune (Kid Millions is also a member). Sasha Vine plays mostly bass, but also a little violin and sings. Tran, the drummer, also sings. They’ve been a band for about seven years, and Dusted has favorably reviewed two of the three previous albums, 2021’s Bianca and 2022’s War on War.  

Fine is an advance for Weak Signal but not a shock. Though most of its songs sound very much in line with previous albums, it diverges in some fruitful ways. Both “Out on a Wire,” and “Baby” begin in a frenzy of feedback and improvisation, beginning side one and side two of the vinyl edition in exhilarating freefall.

“Out on a Wire” coalesces eventually into Weak Signal’s trademark vamp, a dissolute cousin to “Peter Gunn” that slinks and struts and smirks and all but has a lit cigarette dangling from the corner of its mouth. And yet, it’s pure rock and roll, this cadence, full of menace but also vibrating with heart and vulnerability, talk-sung with bracing cynicism but sweetened by boy-girl harmonies.

“Baby” is more of a surprise, because once the din lets up, a softer aesthetic emerges in jangling folk acoustic chords and soft lyricism. It’s an appealing shift, and it continues through “Terá Tera,” a fragile, pretty but deeply felt cut that puts me in mind of other unplugged psychedelic garage rockers: Aquarian Blood, The Duchess and the Duke and the Gris Gris’ Greg Ashley’s solo work.

The best cut, though, is “Wannabe,” a blown-out guitar-psych tune with shades of ragged glory. That’s the one where Cass McCombs guests, and if it’s him letting the long notes fly at the beginning, they should consider offering him a full-time gig. If Weak Signal’s songs have had a flaw up to now, it’s been a certain dank claustrophobia. This cut blows the doors down and lets some light in.

Weak Signal entertainingly imagines life as a Brian Jones-style figure in “Rich Junkie,” tapping into a pre-digital fantasy of rock ‘n roll excess (and financial rewards). Though spiritually part of a strung-out but brilliant lineage, Fine will likely never buy a mountain villa for anyone involved. It’s just another good one from a band you ought to know but probably don’t. Why not fix that right now? You owe it to yourself.

Jennifer Kelly

[sneakyboythingz]

I saw some people say that episode 3 is gonna take another 6 months to release, wich is possible and i have no problem with It, But i dont think thats the case because:

When murder drones got the green light after It's pilot, It took one year to release the second, after that when full season got announced the time gap between episodes was only 2-3 months.

What does this mean? This means that Its normal for the time gap of the pilot and ep 2 to be longer but after the EP 2 the time gap of the episodes is shorter.

And then you wonder, "why did Murder drones take one year to prepare a full season and TADC only half a year?"

Well Its simple; TADC got SOOOO MUCHHH attention and support, you have no idea How much money that gives and more money means faster production. And since glitch doesn't waist time, the are defenitely using all the money they got to contract as much people as possible.

Wich couldn't be possible for Murder Drones to have this fast production cuz the support and attention wan'st as massive as TADC got, so the time to make The full season was longer ( october 2021 to november 2022.)

In conclusion:

I think ep 3 is gonna take 2-3 months and not 6 months cuz they have the full season pre-prepared alredy, Just like How It was with murder drones, so by this logic i think TADC Will still release more 2 episodes before this year ends. My best guess is July and october

Extra points: when they announced a full season they said they plan in releasing EPISODES on this year and the next one, Implying that they want to release more than just ep 2 before this year ends.

[hierarchyproblem]

Big dumb album of the year post, here we fucking go:

Punk

A lot of the punk releases that crossed my radar this year were really hardcore-y hardcore or weak-ass "indie punk" shit, and that doesn't do a lot for me. And like, who cares if Rancid are still making music? Does Tim Armstrong even need any more money at this point?

This year I liked All Together Now from Cop/Out and All Riot from Angry Youth Elite. GEL's Only Constant sadly wasn't a patch on 2021's Violent Closure (though I did get to see them live and they put on a hell of a show), and I look forward to seeing Killing Daisies develop their sound following a pretty strong debut with Break the Silence. The HIRS Collective are at their best at their grindiest IMO, but I still liked lots of We're Still Here. Slutbomb's EP Commodified Identity is exactly what I want punk to sound like, but this year's winner is Dog Park Dissidents with their debut The Pink and Black Album.

I've talked before about my frustration with the state of queer punk at the minute, which largely seems to consist of didactic lyricism, indie-pop influences, and the basics of liberal feminism presented as radical politics. Not so with Dog Park Dissidents: their lyrics are frequently funny and occasionally surprisingly emotive, their political content is incisive, and while we're not talking face-melting blast-beats here, the songs are genuinely entertaining. Half of the songs on this album have more to say than the entire discographies of some punk bands, and are pretty catchy too.

Favourite tracks: Rainbow Drones, Host, Class Struggle

Grindcore

I haven't listened to much new grind this year; I don't know what releases have even happened. There must be some good stuff that passed me by - let me know what I missed!

The Full of Hell collaborations weren't really my thing, but Haggus' EP What's Your Excuse was great as ever. Sometimes trawling bandcamp you can strike gold such as Coming Apart from Tolerances Of The Human Face In Crash Impacts or Human Decay from Rancid Stench. There was only ever gonna be one winner this year, however, and it's Gridlink's Coronet Juniper.

What can I even say about this? Gridlink have done it again. Somehow, even after guitarist Takafumi Matsubara's stroke in 2014, they've managed another album that's almost as perfect as Longhena. Their "technical grindcore" sound is unique and electrifying; Gridlink are untouchable. Nobody sounds like them. I'm blown away.

Favourite tracks: Silk Ash Cascade, Anhalter Bahnhof, Octave Serpent

Black Metal

It's been a fucking good year for black metal.

Between Panopticon's The Rime of Memory, Underdark's Managed Decline, Blackbraid's Blackbraid II, and Trespasser's Αποκάλυψισ, there's been plenty of excellent releases to keep me busy (can you tell I got into this through RABM?). I thought the production felt a little thin on the final Dawn Ray'd album, To Know the Light - the lack of a bassist hurt here, more than on any prior release - but I had the good fortune to be at the album release show, and it was the best gig of my entire fucking life, so this album holds a special place for me. Sad to see these guys go.

Fadheit's EP Afterglow deserves a special shout-out for carrying the torch of Lifelover's brand of depressive black metal, a sound I'll never get enough of. Probably everyone's black metal album of the year is going to be Saturnian Bloodstorm by Lamp of Murmuur, and that's well-deserved. This is possibly the best Lamp release yet, and I'm very into the freezing Immortal-esque guitar tone on this one. I'll be going back to Saturnian Bloodstorm for a long time, but the album I've actually enjoyed the most this year is Immortal themselves, with War Against All.

It's a rare enough thing for a band to keep releasing quality music for thirty years - even Darkthrone have had their misses - but Immortal are still going strong. You could be forgiven for phoning it in at this point, but I don't get that impression: as much as black metal can be "fun," I feel like Demonaz is still having fun, and I had a lot of fun with this album too. If you like black metal, there's plenty to like here.

Favourite tracks: No Sun, Return to Cold, Wargod

Ska

Ska is going from strength to strength right now; the past few years have been some of the genre's best in a long long time. This year I was delighted to see Mustard Plug releasing music again with the excellent Where Did All My Friends Go? and I enjoyed a lot of Poindexter's upbeat ska-pop debut album Treats. I scratched my ska-punk itch with Public Serpent's caustic The Bully Puppet and HEY-SMITH's frantic Rest in Punk. Popes of Chillitown's latest Take a Picture has something for everyone, drawing from about a hundred genre influences.

Still, my favourite ska album of this year is Plastic Presidents' debut Good Times Can't Last.

Please, please, do yourself a favour and listen to that opening track. This is one hell of an attention-grabbing debut, without a single skip on the tracklist, covering dancey 2-tone-era ska-punk through to aggressive skacore. If this was the only album they ever released, they'd have earned a spot in my pantheon: I'll be following eagerly to see what they do next.

Favourite tracks: Chains, West Omaha is a Terrible Place and I'm Definitely Afraid to Die, Break Free

Other

This "category" is one hell of a grab bag, but I don't know where else to put Tomb Mold, one of the only death metal bands I unreservedly love. Their most recent release The Enduring Spirit is sure to end up on a lot of album of the year lists.

The Nearly Deads' We Are the Nearly Deads is pretty much what I want rock to be (that is, completely without trace of any fucking metalcore influences!). I have a soft spot for symphonic metal, and Chapter III - Downfall from Ad Infinitum hit that spot this year. Finally, while I preferred Brave Murder Day-era Katatonia, I still like the goth rock thing they've been doing basically ever since then, and Sky Void of Stars is one of their better albums in that vein.

My left-field pick for Album of the Year, however, is Shit Present's What Still Gets Me.

I usually can't stand the kind of thing that's just punk-adjacent enough for the algorithms to insist on trying to force it into my ears. I didn't expect to like this, either - but it's really, really good. Like, I should hate anything you can describe as "emo-pop," but I don't, here. I love it. The songs are so well-crafted, the vocals so perfectly-delivered; there's an energy and emotion to this album that's had me listening to it on repeat since May.

Check it out: it's the best album of 2023.

Favourite tracks: Voice in Your Head, More to Lose, Cram the Page

[eregyrn-falls]

Yurok tribal members lead a redwood canoe tour on the lower Klamath River on Tuesday, June 8, 2021, in Klamath, Calif. (AP Photo/Nathan Howard, File)

(I could have sworn I read this in a post on here, but I just cannot find it anywhere. So here it is... maybe again for some folks.)

California tribe that lost 90% of land during Gold Rush to get site to serve as gateway to redwoods

By Associated Press Laguna Beach

PUBLISHED 4:54 PM PT Mar. 19, 2024

Source.

California’s Yurok Tribe, which had 90% of its territory taken from it during the Gold Rush of the mid-1800s, will be getting a slice of its land back to serve as a new gateway to Redwood National and State Parks visited by 1 million people a year.

The tribe signed a memorandum of understanding Tuesday with California and the National Park Service for 125 acres in Humboldt County to be transferred to the Yurok in 2026 after the restoration of salmon habitat Officials say the tribe will be the first Native people to co-manage returned land with the National Park Service The arrangement with the Redwood National and State Parks and the nonprofit Save the Redwoods League is part of a growing Land Back movement It seeks to return Indigenous homelands to descendants of those who inhabited those areas long before European settlers arrived

The Yurok will be the first Native people to manage tribal land with the National Park Service under a historic memorandum of understanding signed Tuesday by the tribe, Redwood National and State Parks and the nonprofit Save the Redwoods League.

The agreement “starts the process of changing the narrative about how, by whom and for whom we steward natural lands,” Sam Hodder, president and CEO of Save the Redwoods League, said in a statement.

The tribe will take ownership in 2026 of 125 acres near the tiny Northern California community of Orick in Humboldt County after restoration of a local tributary, Prairie Creek, is complete under the deal. The site will introduce visitors to Yurok customs, culture and history, the tribe said.

The area is home to the world’s tallest treees — some reaching more than 350 feet. It’s about a mile from the Pacific coast and adjacent to the Redwood National and State Parks, which includes one national park and three California state parks totaling nearly 132,000 acres.

The return of the land — named ’O Rew in the Yurok Language — more than a century after it was stolen from California’s largest tribe is proof of the “sheer will and perseverance of the Yurok people,” said Rosie Clayburn, the tribe’s cultural resources director. “We kind of don’t give up.”

For the tribe, redwoods are considered living beings and traditionally only fallen trees have been used to build their homes and canoes.

More below the cut:

This drone photo taken Monday, Jan. 29, 2024, shows the site of a salmon restoration project at Prairie Creek, which runs from Redwood National and State Parks, Calif., and flows through land that will be returned to the Yurok Tribe. (AP Photo/Terry Chea, File)

“As the original stewards of this land, we look forward to working together with the Redwood National and State Parks to manage it,” Clayburn said. “This is work that we’ve always done, and continued to fight for, but I feel like the rest of world is catching up right now and starting to see that Native people know how to manage this land the best.”

The property is at the heart of the tribe’s ancestral land and was taken in the 1800s to exploit its old-growth redwoods and other natural resources, the tribe said. Save the Redwoods League bought the property in 2013 and began working with the tribe and others to restore it.

Much of the property was paved over by a lumber operation that worked there for 50 years and also buried Prairie Creek, where salmon would swim upstream from the Pacific to spawn.

A growing Land Back movement has been returning Indigenous homelands to the descendants of those who lived there for millennia before European settlers arrived. That has seen Native American tribes taking a greater role in restoring rivers and lands to how they were before they were expropriated.

Last week, a 2.2-acre parking lot was returned to the Ohlone people where they established the first human settlement beside San Francisco Bay 5,700 years ago. In 2022, more than 500 acres of redwood forest on the Lost Coast were returned to the InterTribal Sinkyone Wilderness Council, a group of 10 tribes.

The ’O Rew property represents just a tiny fraction of the more than 500,000 acres of the ancestral land of the Yurok, whose reservation straddles the lower 44 miles of the Klamath River. The Yurok tribe is also helping lead efforts in the largest dam removal project in U.S. history along the California-Oregon border to restore the Klamath and boost the salmon population.

Plans for ‘O Rew include a traditional Yurok village of redwood plank houses and a sweat house. There also will be a new visitor and cultural center displaying scores of sacred artefacts from deerskins to baskets that have been returned to the tribe from university and museum collections, Clayburn said.

The center, which will include information on the redwoods and forest restoration, also will serve as a hub for the tribe to carry out their traditions, she said.

It will add more than a mile of new trails, including a new segment of the California Coastal Trail, with interpretive exhibits. The trails will connect to many of the existing trails inside the parks, including to popular old-growth redwood groves.

This drone photo taken on Monday, Jan. 29, 2024, shows a salmon restoration project at Prairie Creek, which runs from Redwood National and State Parks, Calif., and flows through land that will be returned to the Yurok Tribe. (AP Photo/Terry Chea)

The tribe had already been restoring salmon habitat for three years on the property, building a meandering stream channel, two connected ponds and about 20 acres of floodplain while dismantling a defunct mill site. Crews also planted more than 50,000 native plants, including grass-like slough sedge, black cottonwood and coast redwood trees.

Salmon were once abundant in rivers and streams running through these redwood forests. But dams, logging, development and drought — due in part to climate change — have destroyed the waterways and threatened many of these species. Last year, recreational and commercial king salmon fishing seasons were closed along much of the West Coast due to near-record low numbers of the iconic fish returning to their spawning grounds.

Thousands of juvenile coho and chinook salmon and steelhead have already returned to Prairie Creek along with red-legged frogs, northwestern salamanders, waterfowl and other species.

Redwoods National Park Superintendent Steve Mietz praised the restoration of the area and its return to the tribe, saying it is “healing the land while healing the relationships among all the people who inhabit this magnificent forest.”

[longwindedbore]

Evidently Hurricane Helene’s arrival in the midst of a Presidential Election has resulted in mass amnesia (or reveals indifference) regarding response times to prior natural disasters among many on one side of the political spectrum.

Accordingly ~ Reminders:

NATIONAL GUARD and RELIEF WORK

Resources are limited because of staging. Not because of funding or manpower.

The NATIONAL Guard is each State’s ‘well organized militia’ and takes orders from the State’s Governor. NOT THE PRESIDENT.

In the States affected by Helene the Governors have mobilized and deployed National Guard units as determined by their State’s Guard leadership.

Sending scads of troops to devestated areas so they can just stand idle without equipment or resources to help is counterproductive at best.

Plus, the Guards would also need to be transported, quartered and fed which would TAKE VITAL RESOURCES FROM THOSE WHO NEED THEM.

Staging areas - with transportation in and out of - are the absolute critical work of the Guard in providing relief.

Staging locations are not ‘interesting’, exciting, ‘sexy’, and are ultimately too large for the Media to send camera crews to photograph. Out of sight; out of the Public mind.

Some specialized National Guard units have been federalized - called up and deployed overseas to support the US military. NO STATE has been left with insufficient manpower for natural disasters, civil insurrections, etc.

POLITICIANS’ INSPECTIONS

Politicians can see the same drone videos we do. Their job is to help with staging resources into devestated areas.

Elected Politicians coming to devestated areas prematurely have the same effect as flooding areas with Guards ~ effectively acts to DELAY getting resources to those in desperation.

Politicians can best serve doing their jobs at their desks getting resources staged and means of transporting those resources to those in need.

People Campaigning for political office coming to a devestated area for a political photo op should be prosecuted for criminal obstruction and trespassing.

Once relief efforts are well under way then it is appropriate for politicians or candidates to fly over the devestation to understand the size of the problem.

WHAT THE PRESIDENT CAN DO

Biden has acted. HOWEVER for some, the loud public expression of ‘thoughts & prayers’ is more effective than physical resources. I assume those complaining are outside of the devestated areas.

In accordance with federal laws that LIMIT what a President can spend - once a state’s Governor has [1] declared an emergency and [2] requests disaster funding only then [3] the President can access the billions set aside yearly for disasters.

President Biden has authorized those billions as anyone can find out if they simply Google.

Incidentally Biden’s 2021 Infrastructure Bill (passed when the Dems controlled the House) provided hundreds of millions for disaster resilience preparation . DeSantis turned down $300M because it was “too woke” as “climate change isn’t real”. I haven’t researched the other States.

TIME FRAMES

Acquiring the right supplies. Getting them to a staging area. Transporting them into devestated areas.

Having the billions doesn’t result in anything happening overnight.

For instance Electricians have to drive in from other States with their tools and then be transported through flooded areas to the PRESUMED location of the electrical service disruption. Then assess the problem and order the replacement equipment from out-of-state. Which may need special transportation to get it to where it’s needed.

The same as #2 above applies to food, drinking water, insulin, clothing, medical oxygen, heating/cooking gas, water reclamation system repairs, temporary hospitals, temporary shelters, emergency transportation to hospitals, reuniting divided families, locating remote dwellings, etc etc etc.

When the Hurricanes stay on the coast the US has the advantage of nuclear powered Navy ships which legally become Coast Guard auxiliaries and can provide power, drinking water, mobile hospitals, helicopters, etc to devestated areas.

UNIQUE ASPECTS of HELENE

Some US firestorms and rivers overflowing disasters have affected more people than Helene. However, such events essentially force everyone to evacuate the devestated areas.

The devestation from Helene in North Carolina was the outcome of the heretofore unimaginable amount of rain a hurricane could drop on an area.

The Appalachian geography has the main roadways in low level areas along rivers.

Residents are trapped unable to escape.

We, as a nation, will have to consider how to deal with these rain heavy hurricanes which science has warned us about for decades

DEPLOYING the NAVY on the COAST.

With respect to the capabilities of the US Navy. When Hurricane a Maria devestated the Caribbean in 2017 during the administration of #45

The US Navy’s Leeward Islands squadron provided the power, water, helicopters to devestated FOREIGN island nations.

Just as Obama had deployed Naval resources to Haiti after their 2010 earthquake

Due to the Posse Comitas Act (1878) the President is limited in using the military on US soil. Therefore, predesignated Navy ships and crews change their names and designations to legally become Coast Guard auxiliaries.

SOMEONE PREVENTED the deployment of those Naval resources to the U.S. Territory of Puerto Rico in 2017. 2,000 US citizens died AFTER the storm due to that act of prevention.

I raged at the time that the then sitting President should be impeached, arraigned for murder, and tried for homicide. If not Genocide since the majority of victims were Hispanic-Americans.

•••••••••••••••••••••••••••••

[lovejustforaday]

2023 Year End List - #1

夢之駭客 Dream Hacker - Otay:onii

Main Genres: Post-Industrial, Experimental

A decent sampling of: Neoclassical Darkwave, Electroacoustic, Glitch, Industrial Techno, Drone

Brace yourself, cause from here on out this is mostly just gonna be me fanboying and gushing uncontrollably.

Back in 2021, I had championed the Chinese American singer/songwriter/composer/producer/performance artist Lane Shi Otayonii a.k.a. Otay:onii for her experimental record Ming Ming on that year's roundup, describing her potential to become "one of the greatest producers of the decade". But who is this enigmatic artist?

Lane Shi divides her time and energy between creating and touring with her hardcore noise rock band Elizabeth Colour Wheel, and performing studio black magic with her solo project under the Otay:onii name.

She is also an artist who regularly alternates her base of operations between two worlds, residing at different times in New York City and Shanghai. The duality of her identity as a Chinese American is a narrative thread that appears many times throughout the artist's work, informing some of the thematic elements of her records.

According to a really great interview she did with the YouTuber Heinos, the moniker 'Otayonii' itself is actually a name that was given to the artist when she met a Seneca First Nations man, who asked if he could call her by the name for 'wolf' in his ancestral language. She liked the sound and what it represented, and so decided to own her new given title.

Musically, Otay:onii is primarily a post-industrial project, but Lane Shi regularly incorporates aspects of darkwave, glitch, drone, traditional Chinese music, and electroacoustic music into her work. Her signature sound is equal parts atmospheric, lovecraftian, primordial, playful, and frenetic. She's kinda like if an ancient vengeful demi-god reemerged from the bowels of the Earth, and learned how to download and play around with studio software on a laptop.

As a vocalist, Lane Shi possesses a contralto range, and falls under one of my favourite niche categories of woman singers I like to call "force-of-nature belters", along with the likes of Tanya Tagaq and Björk. She has a trademark lower register that I would describe as a witch's snarl, a gentler middle register, as well as a higher register that she usually reserves for piercing battle cries and wailing like a banshee.

Her 2018 debut Nag was a comparatively more minimalist, grayscale undertaking, heavy on the more ambient and gothic tones of her sound. A genuinely solid first effort, if a bit less memorable than later records, barring the deliciously dreary eponymous song which is still among her very best.

2021's Ming Ming was an upgrade in all respects. Pulling major influences from Chinese folk music and folklore, I described the record in my previous Otay:onii review as a "true Pandora's Box . . . like the story of a mortal who attempts to enter the realm of the gods". Lots of ominous industrial cyber-magic, with a rare few moments that could have perhaps been edited down or omitted altogether to increase the force of its impact.

So, what to make of her latest then?

Dream Hacker is an exorcism. An inferno of ancient eternal flames envelops this absolutely bonkers and surreal listening experience. Each song carries powerful buildups in intensity combined with impossibly elegant structural competence. Far and away one of the most visceral and transcendent records I have ever beheld. This gets into your bloodstream, like an innate, raw instinct towards entropy.

Otay:onii's work has never sounded quite this immediate, energetic, and dynamic, thanks to the incorporation of avant-garde industrial techno beats that gives the whole project a mighty propulsion. Even during its quieter moments, you as the listener are never far from being engulfed in its unruly fire and brimstone. So many little leftfield moments that made me audibly go "what the fuck?" upon my first listen, too.

To me, this is album of the year not just because it poses the best collection of songs from an artist in 2023 (which, to be clear, it does), but also because it forms the most cohesive and fully realized project of the year. Every moment of this record feels intentional, meticulously crafted, and designed to fit accordingly into a larger entity. This is almost a living, breathing organism unto itself.

Lane Shi described how much of the inspiration for Dream Hacker came to her in a dream, or as she sees it, an "astral projection". Within this dream, she says she witnessed stones being thrown by a child until two of them overlapped, followed by a great light which emerged from the center of the overlap. The imagery was profound enough that she ended up naming most of the tracks after different aspects of what she saw in the dream.

The album starts with humble beginnings. "You Do/Rub" is a two-parter, opening with the haunting, softly swirling piano ballad melancholy of "You Do". The lyrics are deeply cutting and vulnerable, as the artist ponders her shaky relationship with her father as a daughter of the generation where China had implemented the one child policy, breeding stigma against female offspring in the more conservative rural communities. Lane Shi wields her voice like a delicate blade, gracefully and artfully interrogating her father's worldview. The progression of the piano's melody suggests a kind of resolution in ambiguity, resisting rigid, narrow-minded answers to multidimensional questions.

Then quite abruptly, "Rub" completely overtakes and drowns out the serenity of the softer piano song, like a sudden onset computer virus infection. What becomes of this part two is honestly one of the most immaculate timbral frequencies I've ever heard. A glitchy, droning wall of madness forms in dark, ominous, tempestuous clouds all across the sky. Warm colours are sucked out of existence by a black hole, leaving only greyish pale blues. The soul is washed with abrasion until all that's left is the ability to observe. Sound design on this is fucking unreal, as though Lane Shi Otayonii is wiping clean of our universe, leaving only a empty slate to form the basis for her own new sonic domain, wherein she is god of all things.

"Light Burst" is the combustion spark of a rebirth of all things that comes immediately after. Lane Shi let's out a shrill cry of tremendous power and agony amidst the grinding dust and debris of an incredibly dense and intricate industrial techno concoction, built upon her long standing love affair with minor second chord progressions. This track does not relent, adding more and more layers to its already colossal tower of babel proportions until, just as suddenly as it came into existence, it vanishes without a trace of detection.

"Two Rocks A Bird" oscillates like an electron creating new electromagnetic waves. Sound particles split into atoms that dance in a mindless frenzy. Even as a regular Arca fan, I don't think I was ready to comprehend something like this the first time I heard it. Subverted all of my expectations. I think the artist may have invented a few completely new sound textures on this track. A highly reactive new form of industrial music.

After deliberating with all of the sheer fucking brilliance to be found on this project, I eventually concluded that "Overlap" was my favourite off of the record. Like the best song on her last LP "Blackheart Breakables", this is an epic midpoint that just continues to build and build, feeding endlessly like a malignant being that cannot be stopped. Hand drum beat patterns are mutated, modulated, and mutilated by industrial electroacoustic mechanisms, while a synthesized flute echos a most forlorn and sinister melody.

Lane Shi takes on the shape of a skillful pyromancer, testing her newfound powers by conjuring a sea of flames that I visualize with my mind's eye as something similar to the Darvaza Gas Crater. Alternatively, I imagine thousand year old stains of bloodshed on the tombs of a ransacked temple, or the ancient terracotta soldiers of Qin Shi Huang's mausoleum brought to life for the purpose of ushering a new war. "Overlap" is just something else, man. My other pick for song of the year.

"Ritualware" opens with a rare calm, dreams swirling on the outskirts of a newborn world that has not reached its zenith. The spacious void bursts to life with a single, literal drop (another brilliant production choice), creating ripples in space-time that give way to a trumpeting sawtooth synths' cacophonous symphony.

"Good Fool" brings things to a stirringly harmonious denouement. The light of the last candle is blown out, and a creeping dusk sets in. Petals of sound float along the wind and promptly dissipate, as everything reaches an uncanny stillness. A hushed, rapid-fire breakdown of bass drums, hand drums, and gongs occurs as the final closing act of the record.

I know I've already said this like a dozen times before about a dozen different artists, but it really needs to be said here - more people should know about Otay:onii. No one I've discovered has been doing anything as consistently exciting, challenging, and infectious as this project in the last few years. As it stands right now, the artist is criminally unknown and criminally underappreciated.

Dream Hacker is the rare ambitious record that dares to be so challenging and not only lives up to all of its potential, but manages to make the old formula of doing things look incredibly obsolete by comparison. Not many avant-garde music albums are this ridiculously fun to listen to, let alone manage to capture sonic worlds that are this truly sublime.

I've probably listened to this at least 40 times in the last year, and I plan on at least doubling that number in the following year. This is not just my album of the year; it is my top album of the 2020s as a decade so far, and already one of my favourites of all time. This record sets my soul ablaze and I simply can't get enough of it. Otay:onii is my new religion, and Dream Hacker is the scripture.

10/10

Highlights: "Overlap", "You Do/Rub", "Light Burst", "Two Rocks A Bird", "Ritualware", "Good Fool"

[alwida10]

Writing this here to get an official time stamp so I can check in a few years if I had been right or wrong. (Technically, this theory is from November 2023, but I never posted it publicly in detail.)

So, my observations.

1. Back in October ‘23, the war in Ukraine was pretty much at a stalemate. The Russians were running out of ammunition and getting lower on soldiers. The Ukrainian offensive had run out without reaching the enormous expectations put into it.

2. It was already known that Russia had gotten drones from Iran (possibly trading methods to enrich uranium for weapons for them) even though Iran had long denied this. By now (march ‘24) it’s known that Iran, Russia and china are doing joint military exercises, implying there might be an alliance behind the scenes.

3. In October ‘23, Russia knew that the biggest factor for its losses in Ukraine were the support from NATO for Ukraine. So, how fight that? A distraction, in best case paired with a dividing influence on the western world.

4. Russia calls Iran -> iran makes the Hamas attack Israel. But not any part of it. They aimed for the people who were pro-Palestine. Young, leftist people, people who employed Palestinians and offered them shelter, people who drove Palestinian citizens to hospitals.

Second part of the plan: they flood social media with posts highlighting the Palestinian suffering. Posts that condemn Israel. They make the “kill or drive away all Jewish people from the Middle East” war chant a world wide catchphrase.

4. It works like a charm. Israel’s right-leaning head of the state does what Trump would have done, too. Aggressively attacking, not caring much for wording and not caring how his plans play into putin’s hands.

First result: Ukraine vanishes from the public eye. Help stops. The care for the indisputable war crimes there disappears.

Second result:

Since the reports about the bad things in gaza made it quicker to sm than the reports from the Jewish victims (but also for other reasons) the pro-Gaza news had been more far support online and were shared more.

On traditional news however, the pro-Israel news seemed to be more prevalent. Naturally, young people are more likely to get to know stuff from a than older people. The reverse is true for traditional media (newspapers, tv news).

A generational division appears, additional to the leftist pro-Gaza fraction and people who are either neutral or pro-Israel leaning. Most likely this division also separates Muslims and Jewish people (which in many western countries are a very small minority) plus certain subtypes of Christians.

Now why is that of importance? Because there are elections coming. Both in the US as well as in Europe.

My analysis/predictions:

When Biden got elected 2021, it had been mostly the young people who tipped the wage towards the democrats. Young people who tend to be more on sm than listen to traditional news (tv or paper).

We know now that Russia massively influenced the election that brought Trump to the White House. They leaked Hillary Clinton’s emails and using a lot of bots on sm.

Twitter is now swarming with bots, and Elon supports a lot of pro-Russia stuff. There are a lot of pro-Hamas bots, too.

——-

If this gets repeated, if Trump returns to office, he’ll cut all support for Ukraine, making Putin’s plan a full success. He won’t help Gaza. lol, he probably would tell Netanyahu to up his game. Please google “Trump Muslim ban” if you don’t remember what he thinks about the topic.

TL:DR: you’re not immune to propaganda. Learn to recognize it.

And if you care about Gaza think how YOU would solve the conflict. What YOU would tell the people getting bombed or crying for relatives who are still hostages and sex slaves of the Hamas. Go look for a compromise, for the bigger picture. Those are the posts that are most likely the only ones helpful.

[gloriousgwendolinechristie]

AFM: Naomie Harris, Gwendoline Christie Team for Family Adventure ‘Robin and the Hood’

GFM Global Sales is shopping the film, produced by Silver Reel, that also stars Mark Williams and Darcey Ewart.

Naomie Harris, Gwendoline Christie and Harry Potter star Mark Williams (who played Arthur Weasley in the film franchise) have joined the ensemble cast of family adventure film Robin and the Hood alongside rising star Darcey Ewart (Prancer: A Christmas Tale, To Olivia).

The film, which completed principal photography over the summer, comes from director Phil Hawkins (Prancer: A Christmas Tale) and was written by Stuart Benson and Paul Davidson, with the script first optioned by Silver Reel in 2021. It’s set to debut as a Sky Original in the U.K. and Ireland on Sky Cinema, with GFM Global Sales handling the film at the AFM following a deal inked prior to the market.

Robin and the Hood follows the tenacious 11-year-old Robin (Ewart) and her loyal band of friends, called “The Hoods,” for whom the patch of overgrown scrubland at the end of their cul-de-sac is a magical kingdom. Sticks and bin lids have become swords and shields, drones have become majestic eagles, and the hippy lady in the forest (Christie) is a terrifying witch. The only thing limiting their colorful imagination is the prospect of losing their kingdom forever. When the slippery property developer Clipboard (Harris) turns up and dazzles the parents of the area with promises of health spas and day-care facilities, Robin and The Hoods’ world is faced with an existential threat. Despite the children’s best efforts, their protests fall on deaf ears. When their parents can’t see the wood for the trees, Robin and her friends take matters into their own hands to defend their kingdom. 

The film is produced by Silver Reel’s Claudia Bluemhuber and Future Artists Entertainment’s Matt Williams. Alexander Jooss, Florian Dargel and Karol Griffiths (from Silver Reel) and Julia Stuart and Andrew Orr (Sky) will executive produce. 

“We were excited about Stuart and Paul’s script from the moment we encountered it – Robin and the Hood is a story with a big heart and plenty of laughter, which reminds us of the power and importance of imagination in a world that is swiftly losing it,” said Bluemhuber. “Landing the fantastic (quartet) of Naomie, Mark, Gwendoline and Darcey to lead our cast is a brilliant coup, and we’re thrilled that Sky, Future Artists and GFM are joining us on this adventure!”

[marythegizka]

Mass Effect Trilogy Tag

Was tagged by @illusivesoul

Thank you! 😊

Tagging (if you feel like it, of course): @mxanigel, @lady-carys, @wolfmilk-and-polenta

Answers under the cut! (Quite a bit of rambling there, I'm afraid...)

I have been a fan since:

Favourite game of the series?:

MShep or FShep?:

Earthborn, Colonist or Spacer?:

Biotics or Tech:

Paragon or Renegade:

Favourite Class:

Favourite Companion:

Least favourite Companion:

My squad selection:

Favourite In-game romance:

Other pairings I like:

Favourite NPC:

Favourite Antagonist:

Favourite Mission:

Favourite Loyalty Mission:

Favourite DLC:

Control, Synthesis or Destroy:

Favourite Weapon:

Favourite Place:

A quote I like:

I have been a fan since: 2021. I had been meaning to try the first game since 2017. I played for one evening, then life happened and I forgot about it. Fast forward to the 2021, when having less work and no longer having a commute made me go 'well, why not use this time to mitigate my existential dread and deaden my emotions with... oh. Okay. Nevermind that'. And then I sank... I don't know, a little under 200 hours into it? Yeah.

Favourite game of the series?: ME2. I think I like the stakes and storytelling of ME3 better (also, I think it was the first game to ever make me cry? Several times?), but ME2 is very character-focused and I just live for that.

MShep or FShep?: Well, I usually play as female characters (the one recent exception I can think of being a M!Cousland because that was the only way marry Anora. I have no regrets.) so I'm not really in a position to compare.

Earthborn, Colonist or Spacer?: Earthborn on my Paragon playthrough, colonist on the Renegon one. (I also started a spacer one but did not finish it).

Biotics or Tech: Both, but for different reasons. I like the visuals of biotics (yes, I really am that shallow), and having an enemy NPC floating helplessly in the air while you take aim is really, really convenient. That said, the 'overload' ability is extremely helpful, and I really like Tali's little drone, so tech is pretty cool too. I just usually make sure I have both in the squad (except for specific missions like the moon base in ME1).

Paragon or Renegade: Hmm, so... I'm going to say Renegon, because Renegade is very entertaining at times, and absolutely awful at other times (particularly in ME3). But my first Shepard was a bleeding heart Paragon. She was just so nice.

Favourite Class: Anything that lets me experience the story without dying too many times (and I play on casual so that's really all of them). That said, I find myself rather partial to the Vanguard's charge ability. It's not necessarily the *most* useful, but it's just too satisfying not to use.

Favourite Companion: Hmm. Well, I love EDI's dry humour and the fact that she becomes more human over time, so I'll just go with EDI...But honestly, it is a tough choice, especially when old grump Javik is right there, and Tali melts my heart, and Liara's arc is so good, and Wrex is too funny but also pretty tragic, and... see what I mean?

Least favourite Companion: Jacob. The thing with Jacob is, I don't even dislike him, I just think his writing is... how do I put it? Not bad, per se, but it doesn't quite pull me me in. He's pretty much the only companion who remained 'a coworker' on all my playthroughs. Other were either 'best pals' (Tali, Garrus, Wrex), great romances (Liara, Garrus, Thane), or downright antagonistic at times but in a way that felt natural and brought something to the story (Miranda and Jack come to mind).

My squad selection: I don't have a fixed one.

Favourite In-game romance: Garrus

Other pairings I like: Miranda/Jack, Javik/Liara, Tali/Garrus, Nyreen/Aria

Favourite NPC: Matriarch Aethyta

Favourite Antagonist: Saren

Favourite Mission: Virmire

Favourite Loyalty Mission: Tali/'Treason'

Favourite DLC: I haven't played them all (I haven't bought the Legendary Edition so they were separate purchases. This means I have never recruited Kasumi or played Lair of the Shadow Broker, any knowledge I have of them comes from the fandom + a couple of videos), but I really enjoyed the Omega DLC.

Control, Synthesis or Destroy: Oh man... I mean... I feel like Control comes with fewer moral downsides in the short term? Organics remain organics, so no consent issues there, and the Geth and EDI get to survive... the only real downside is that Shepard is gone. But in the long term? Who's to say they're not the new big bad? It's the one I went with on my 'Renegade' playthrough and her monologue was pretty chilling. Also, there's a degree of sadness in her being 'still there but gone'. What does the grieving process look like for Liara (or whoever else was romanced)? For Shepard themself? Isn't it lonely up there? I don't know, there are just so many questions. That said I went with 'Destroy' (and high EMS) on my first run because I looked up a wiki as I played and I wanted Shepard to survive. Let her and Garrus adopt baby Krogans.

Favourite Weapon: Ermm. I'm not good with names (or details in general for that matter 😂) but that big Prothean rifle you find in ME2? Yeah. That one.

Favourite Place: Ilium. Again, I am shallow. Though I initially mistyped that as Ilos (again, I am bad with names) and you know what? I love Ilos too, but more for the feels than its aesthetic. Also Liara's reactions. And the music when you get to Vigil.

A quote I like: "You did good, child. You did good. I'm proud of you." Man, the delivery got me right in the feels.

[songsforthepierce]

Odd Tracks: We Didn't Start the Fire by Billy Joel & Fall Out Boy Cover

So...uh I legit don't know how to start this. Okay, look, we all know the only reason I am doing this is because of the whole Fall Out Boy's quite not so good cover of it. But before I can actually talk about the cover itself we have to start with the original.

You know, as I listen to this I realized I had actually never listened to the full version of the song before. I would always hear the chorus but nothing else. This is not to say I had NEVER heard of the song before. It was that when people would use it in Anime Hell AMVs to Abridged series they would only play the chorus. Which I get why, it's the most memorable part of the song that and in my opinion the strongest part of the song.

So what is the significance of the song? Well the reason it exists in the first place was because at the time Joel just turned 40 and while he met Sean Lennon's friend who just turned 21 in the recording studio. Supposedly they had a conversation where said 21 year old talked about how it was a terrible time to turn 21 and Billy said,

"Yeah, I remember when I was 21 – I thought it was an awful time and we had Vietnam, and y'know, drug problems, and civil rights problems and everything seemed to be awful".

The young adult replied back with,

"Yeah, yeah, yeah, but it's different for you. You were a kid in the fifties and everybody knows that nothing happened in the fifties".

This took Billy aback and retorted with, "Wait a minute, didn't you hear of the Korean War or the Suez Canal Crisis?"

The main dismissal from the young adult would be the main inspiration for the creation of the song while the two headlines would be the main framework of the song. I do find it weirdly funny he mentions the Suez Canal crisis at the time when in 2021 the canal would be blocked leading to another historical event. Within the song there are 118 brief references to significant political, cultural, scientific, and sport events between the birth year of Billy Joel, 1949, to 1989. These would be listed in predominantly chronological order which makes the song feel very concise and easy to follow. That and it has a very clear intention, the world has always had chaotic events and always will. I do feel like here Billy's intent is from a genuine place of telling people of the era and even before that major historical events be it good or bad have always been a constant. That it is not new nor are the events that happened in the past any less significant than the issues in the current era.

So one of the main talking points sprouted from the recent cover is people debating whether or not the song is a low tier Billy Joel song or not. Well for me, it is in the middle. I do not think it is his best song but I do not think it is his worst. It gets the job done. But how does Billy see this song? Well in the 1993 film, Billy Joel: Shades of Grey, he talked about how he felt about the song on the more musical end with documentary director David Horn. Joel would compare the more melodic content in a more unfavorable light to his song, The Longest Time,

"Take a song like 'We Didn't Start the Fire.' It's really not much of a song … If you take the melody by itself, terrible. Like a dentist drill."

Then on chapter 14 of the book, In their Own Words by Bill DeMain, he interviewed Billy about the song and he states,

"I started doing that as a mental exercise. I had turned forty. It was 1989, and I said, “Okay, what’s happened in my life? I wrote down the year 1949… It was kind of a mind game. [It’s] one of the few times I’ve written the lyrics first, which should be obvious to why I usually prefer to write the music first, because the melody is horrendous. It’s like a mosquito droning. It’s one of the worst melodies I’ve ever written. I kind of like the lyric though."

While one could see his views on the more musical side of his song as mean I do get where he is coming from. As he stated, he prefers to write the music first then the lyrics second. When you write the melody first then you can figure out how the lyrics go but for some writing the lyrics first makes it so you have to figure out "Okay, what is the music going to sound like?" So while he may not really care for how the song sounds, it is clear he liked what he wrote. My own view of the song itself is in the middle I genuinely respect the intent behind it. The concept of showing that every era has it's negatives and positives historically is a good one. A reminder to anyone from the past and to the future. While I was listening to the song I saw these comments beneath the video,

Censoring the usernames because I don't want people to bother these people. But seeing these comments are from 1-2 years ago is funny. A forty year anniversary remake of the song would be a good idea. A lot has happened since 1989 and having an updated version of the song going from then to 2023 would be a neat expansion on the original's intent and a reminder to people about how while the era we live in now does suck in a lot of ways so too does the past.

Wait...we got that. The monkey's paw oh so curled...

Okay so let's start with a positive, the instrumental is fine. Not great but serviceable. But again, the original melody is not hard to screw up. But my main critique of the cover is the verses. The list of events are not in chronological order which makes the song feel like a mess of words. In the original the order is important, it emphasizes all the major events in a way to show the broad scope of what has happened throughout time. That and the events are in phrases. While that is true here it is bizarre to have "Michael Jackson dies" but then just have "Kurt Cobain" Like Michael Jackson dying is the only notable event of Michael Jackson's significance in the pop world while Kurt Cobain's existence lets the listener make the informed thought of BOTH his life and death are important.

You know what this cover makes me think? It really reads like a first draft. Like the band got together and went "Hey, what were the major things that happened from 1989 to 2023?" and just started shouting out what they remembered in no particular order. Then when they were done went "Yeah, that's good enough. Lets record" because I notice certain historical events are not mentioned like Occupy Wall Street, Kony 2012, Gamergate, Ferguson, Flint Michigan water crisis, Hurricane Katrina, Covid-19, and many more. It just feels so incomplete and emphasizes that his cover is such a big miss opportunity. While I don't want to assume no effort was put into this cover it does come off like the effort to passion wasn't really there. It makes whatever got intention they had get so muddy. Though the lyric change that stood out to me was in the chorus,

We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it but we're trying to fight it

This is the strongest part of the whole cover. The intention of that while all this shit has been happening that we are trying to change things for the better. But the fact this is just a tiny nugget within a mess pile just makes said pile look more disorganized than before.

I know this is like the only to first time I have really made a review on something one would consider relevant I only did so because I am just baffled by it all.

[dustedmagazine]

Lost Girls — Selvutsletter (Smalltown Supersound)

Photo by Johannes Andersen

With Selvutsletter, the second full-length album from Jenny Hval and Håvard Volden’s Lost Girls, the duo have turned their scope outwards, expanded their view and produced a weighty, engulfing set of songs. Their first long playing offer, 2021’s Menneskekollektivet, thrust itself at the listener with a relatively stripped down sound, taking cues from minimal techno and experimenting more with Hval’s vocal mix. It was bracing and uncomfortable and irresistible —  an album as much watched as listened to — rapt either way. On Selvutsletter,Volden’s instrumentation is heavier but more dynamic, with active, chugging percussion, swirling keys, the odd horn stab, and low-slung, articulate guitar. The elements are kept consistently in play, mixing together, gathering in thick streams for the ear to parse out while the body can’t help but move. It’s an opalescent and somewhat haunted trip that can, despite its fairly traditional verse-chorus-verse-chorus structures, be harder to penetrate than Menneskekollektivet’s drawn out inquiries. Even the moments of ascendence and levity, like the bright chords on a song like “June 1996” are layered and ambient enough to take up the entire aural space. In this driving richness, it can be easy to let Hval’s voice and lyrics be two eloquent but complementary pieces, alternately starring and fading, but it’s in these that the album comes fully into focus.

Where the debut’s lyrics often spilled out in fascinating, circuitous monologues — less an invitation to hear than something overheard and unavoidable — the follow-up finds Hval carefully setting scenes, guiding us to their center. In “With the Other Hand,” song two, she takes us across multiple thresholds. We “step out of the car/and into the street” then we “step into the bar/in the bar there’s a light/and it lights up the stage.” A few lines later, Hval and Volden lift off into the chorus. Her voice stretches and floats like smoke, playful and forceful: “whether you like it or not/with the other hand I open rooms/with the first one I write.” Andrew Forrell, in a review of Menneskekollektivet for Dusted, found Hval “a thoughtful interlocutor unafraid to think aloud in her quest to express her thoughts, to herself as much as to the audience.” She is just as unafraid here, but in that funny, defiant, and perhaps coercive refrain, she is speaking directly to us, the audience, staking out our respective roles. The confrontational intimacy of Menneskekollektivet is still there, but now it’s more controlled, assured of the point to make, like she’s thought things through and is ready to explain. The line that immediately precedes the chorus, “you hear something unfamiliar and strange/don’t look away/take it in,” reinforces the idea that you may have pressed play but you’re not in charge. That’s the best advice for listening to Selvutsletter: let yourself in but then allow it to occur; experience it and see where it takes you.

On “Re-entering,” for instance, the experiential is a somewhat shrouded present, settled for now, but haunted by both the past and a tenuous future. Alongside Volden’s thumping drum program and lilting synthesizer, Hval leads us into a city’s green space. First, she smells onions and reminds us that “during the war, they grew vegetables in this park.” The music drops out, then swells back, one wide droning key at time. In that brief pause, Hval lifts more history from the sensory: “…and here I smell footprints/they demonstrated here in the 1950s to legalize abortions/soon they will have to demonstrate again/I can smell it.” Hval isn’t merely being didactic, she’s reminding herself to bear witness as well, to trust her own experience, to not look away either, or, in this case, hold her breath. We hear this made explicit in the title and lyric of “Ruins.” When she says “I was here in place/when I didn't know/and therefore was evil,” it’s both a warning and an admission of fallibility. A call to action for each of us, her included, not to avert our eyes. With her repetition of the word “here,” she grounds the sentiment in place, pointing to concrete memories and circumstances that have existed, still do now, and may well persist.

The band’s translation of “selvutsletter” is “self-effacer.” I take this less as an erasure of self than a directive to properly situate the self to better engage with the world as it is. To understand where you’ve been and to find where you fit now and, importantly, to help others do the same. The album is vigorous in its grooves and leaves a powerful, unifying impression with its words. Like Hval says on the opener, “Timed Intervals” and of the “choreography of living” they allow for, it’s “as if thе world actually doesn't want us to hurt each other.” Let’s dance to that.

Alex Johnson 

[anti-psycomics]

The BACKLOGS

Alright I'm saying fuck it and posting all my older shit that I never posted here. They will be ordered from oldest to newest and they will all be worse than my more recent stuff. Anyway, let me give you the tour

This first section is titled "shitty meme drawings from 3 years ago" because I started drawing digitally mostly just to make dumb images for my friends

And then in early 2021 I switched to using a better brush, I used this image to test it out

The second section is titled "still shitty memes but they're from less long ago and also I started using a brush that better fits my style"

few more shitposts around this time. One bad, Two good

For the 2021 holiday season I made myself a halloween and christmas icon. I honestly still like them although they could've been done a bit better

In early 2022 I made this and somehow did it worse than the first drawing I ever did on digital, I think the brush just didnt vibe with the meme as much and also I was lazy idk. Benthic bloom funny tho

And then I did a couple smaller drawings

@gayvian my best worst shitpost

Alright We're getting into the more recent stuff now. Late 2022 and early 2023

Some drawings I did of a dnd character I have who is not currently in a campaign but im gonna bring her back as soon as I can because I love her

And perhaps my finest work in the field of shitposting. I love getting my equipment drone addicted to drugs

The Newest album by the forgor

And most recent, this thing I actually drew after starting this tumblr but I never shared it until now because I felt it wasnt as good as some of my other things

And of course I also have a lot of never finished projects, more personal things I didn't want to post here, and lots. And I mean LOTS of pencil on paper drawings in my notebook (and also maybe a few on old school assignments)

goodnight I stayed up way too late to make this post I shouldve gone to bed 2 hours ago aughgf

[yupiklmao]

Some of fans already drew an art as gift for Luke's Birthday

....While sadly i dont have ideas to draw an art... Only one fanart i should finish on this day but i have problems with my PC :(

So i decided to write this long post....

If he somehow sees my post, all want to say:

Happy Birthday, Luke! Ur still an 24-aged, Super Meme Guardian, great memelord, an asian ga- hobo named SMG4!

I was in interest of these precious series, when i was like around 7 or 8 and a little fan of FNAF (ik it's weird cuz most of the kids these days were fans of these like me-) I was just looking for the funny random video on YouTube and then i watched "R64: Freddy Spaghettiria"

It was first SMG4 video i ever watched. I loved that so much even in that age i may could not understand everything.

Unfortunately i didn't look at channel even... But when i was in interest of Friday Night Funkin in early 2021 (after 7 years-)

Then i finally started to watch some of videos and involving my interest even bigger.

I was big fan of Cosmology lore, especially with Super Meme Guardians. (most 1 and 2, Zero and Niles)

Even i watched a full of series of Sunset Paradise on Glitch, ur reaction and gameplay on Hobo Bros and even liked Hitbox series :D

I loved how you even with ur brother Kevin and ur crew made Meta Runner series, popular Murder Drones with collaborating Liam Veckers (May i didn't watched them full, but my friend loved these series) and upcoming The Digital Circus Show with collabing Gooseworx.

I would really love doing my AU comics or fanarts with my fan characters or original characters (Like Minion, Eggy and others)

Please contiune ur best work with SMG4 series and Glitch Productions's shows as well ❤︎

( I hope i said everything right, this post is so long and i corrected so long.. 0-0 )

[usafphantom2]

WATCH THIS CLIP AND LEARN SOMETHING ABOUT THE SR-71 BLACKBIRD, THE WORLD’s FASTEST PLANE

By Gabriele Barison

Jul 15 2017

SHARE THIS ARTICLE

The SR-71, unofficially known as the “Blackbird,” was a long-range, advanced, strategic reconnaissance aircraft developed from the Lockheed A-12 and YF-12A aircraft

The interesting clip in this post gives you the chance to learn something about the superfast SR-71 Blackbird strategic reconnaissance aircraft.

According to the footage in fact in the 1960’s, the U.S. Air Force (USAF) developed a plane that could travel more than 3 times as fast as the sound produced by its own engines.

This print is available in multiple sizes from AircraftProfilePrints.com – CLICK HERE TO GET YOURS. SR-71A Blackbird 61-7972 “Skunkworks”

The SR-71, unofficially known as the “Blackbird,” was a long-range, advanced, strategic reconnaissance aircraft developed from the Lockheed A-12 and YF-12A aircraft. The first flight of an SR-71 took place on Dec. 22, 1964, and the first SR-71 to enter service was delivered to the 4200th (later 9th) Strategic Reconnaissance Wing at Beale Air Force Base, Calif., in January 1966.

As we have already explained, throughout its nearly 24-year career, the SR-71 remained the world’s fastest and highest-flying operational aircraft.

Actually its incredible speed enabled it to gather intelligence in a matter of a few seconds while streaking across unfriendly skies. From 80,000 feet, it could survey 100,000 square miles of Earth’s surface per hour. And in the off chance an enemy tried to shoot it down with a missile, all the Blackbird had to do was speed up and outrun it.

Thanks to its astonishing flight characteristics, the aircraft has set numerous speed and altitude records during its career, like those established on Jul. 28, 1976 by an SR-71 that set two world records for its class – an absolute speed record of 2,193.167 mph and an absolute altitude record of 85,068.997 feet.

The U.S. Air Force retired its fleet of SR-71s on Jan. 26, 1990, because of a decreasing defense budget and high costs of operation.

Tap arrow Button to View👆

Photo credit: Edwards History Office file photo

Artwork courtesy of AircraftProfilePrints.com

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Gabriele Barison

Gabriele Barison is an aviation, defense and military writer. He is the Co-Founder and Editor of “The Aviation Geek Club” one of the world’s most read military aviation blogs. He has flown Super Puma and Cougar helicopters with the Swiss Air Force.

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