#double J radio

[innervoiceart]

INXS - Original Sin (Official Music Video) - 1983

"Original Sin", originally titled "Brand New Day", is the first single from "The Swing" album. This was the band's first #1 Single in Australia. During 1984, it was #1 in Australia (for two weeks in January) as well as in Argentina and France.

‘Original Sin' is one of INXS' most enduring hits. It was their first Australian number one and helped them make inroads into markets around the world they would soon dominate.

The legendary Daryl Hall appears on the song's chorus, though Hall has since said he has no idea why.

“Nile Rodgers is a friend of mine. He was working on the record and he asked me to come down to the studio because they wanted me to sing on it for some reason,” he told Donnie Sutherland on Sounds in 1984. “I don't know why, they're good singers. They didn't need me. But I did it anyway.”

What the artist said:

“INXS just about lost their minds when they saw that Nile Rodgers was backstage at one of their shows in Canada. The band were fans of Chic and his productions and had tried to get the word out that they were keen to work with him on their next album.

“We gave him a copy of the ‘Original Sin' demo, and the next minute we found ourselves rehearsing in Florida, then going into The Power Station in New York City, literally just after David Bowie and his band had left the studio,” Andrew Farriss told FasterLouder in 2014.

“We walked straight in and the best part was the engineer who had worked on a lot of those albums with Nile, Jason Casaro, was there too.

“When I listen to ‘Original Sin' and compare it to other recordings, geez that sounds good. At the time there was this cutting edge of people who were really good at what they were doing, and two of them were sitting in that room.”

What Nile Rodgers said:

Rodgers not only affected the music, but he had a big say in the lyrics for the song's iconic chorus too.

“The original lyrics were, 'Dream on white boy, dream on white girl,' Rodgers told AdelaideNow in 2012. “I said, 'Why not make it 'black boy, white girl?' I come from an inter-racial couple. Psychologically that makes it a bigger statement.'

“Even when I rang up Daryl Hall from Hall and Oates to sing on it, his manager thought it was too controversial. I think the record would have been bigger had I not talked them into changing the lyrics.”

What the press said:

In a glowing review of the song for AllMusic, Ned Raggett particularly outlined the influence of Rodgers' production as a high point of the record.

“It's the monstrous groove and punch of the song that counts first and foremost,” he wrote. “With its stuttering drum breaks, the dark chime of the lead synth line matched by droning guitar, Kirk Pengilly's brisk sax, and the relentless, straight-up rhythm driving everything along.”

https://www.abc.net.au/listen/doublej/music-reads/features/nile-rodgers-beginner-s-guide/102675826?sf269838049=1&fbclid=IwAR0kRdgTHVUlzcLlRpD5cSpZNcuOvr-gOGOluaH495gl3T7aHSRMVI-rNC0

[ask-the-sexyman-squad]

its been hours, is DT okay, and so is Al?

"Ohhh yeah...we're definitely okay. To think after all this time, such a blessed thing could happen. It's adorable, lighthearted whimsy, where I can't take my eyes off of the current events folding in front of us. It's...the best thing." We're definitely okay...DT is alive and, well..."

They're more than well...even after such painful labor, they managed to push---figuratively and literally---through it all.

"Well...I think nari and dad fell in love all over again, with these two buggers that just entered this world."

[mariacallous]

This is a gift article

In the final week of this election season, the Republican Party is running two different campaigns. One of them is an ugly and angry but conventional political enterprise. Donald Trump and other Republicans make speeches; party operatives seek to get out the vote; money is spent in swing states; television and radio advertisements proliferate. The people running that campaign are focused on winning the election.

Last night, in New York City’s Madison Square Garden, we caught a glimpse of the other campaign. This is the campaign that is psychologically preparing Americans for an assault on the electoral system, a second January 6, if Trump doesn’t win—or else an assault on the political system and the rule of law if he does. Listen carefully to the words of Tucker Carlson, the pundit fired from Fox News partly for his role in lying about the 2020 election. Warming up the crowd for Trump, he mocked the very idea that Kamala Harris could win: “It’s going to be pretty hard to look at us and say, ‘You know what? Kamala Harris, she got 85 million votes because she’s so impressive as the first Samoan Malaysian, low-I.Q., former California prosecutor ever to be elected president.”

“Samoan Malaysian” was Carlson’s way of mocking Harris’s mixed-race background, and “low-IQ” is self-explanatory—but “85 million” is a number of votes she could in fact win. And how, Carlson suggested, could there be such a “groundswell of popular support” for a person he demeaned as a mongrel, an incompetent, an idiot? The answer was clear: There can’t be, and if anyone says it happened, then we will contest it.

All of this is part of the game: the Trump campaign’s loud confidence, despite dead-even polls; its decision, in the final days, to take the candidate outside the swing states to New York, New Mexico, and Virginia, because we’ve got this in the bag (and not, say, because filling arenas in Pennsylvania is getting harder); the hyping of Republican-early-voter numbers, even though no evidence indicates that these are new voters, just people who are no longer being discouraged from voting early. Also the multiple attempts, across the country, to remove large numbers of people from the rolls; the many claims, with no justification, that “illegal immigrants” are voting or even, as Trump implied during the September debate, that illegal immigrants are being deliberately imported into the country in order to vote; Vance’s declaration that he will accept the election results as long as “only legal American citizens” vote.

At Madison Square Garden, Trump doubled down on that rhetoric. He repeated past claims about the “invasion” of immigrants; about “Venezuelan gangs” occupying American cities, even Times Square; and he offered an instant solution: “On day one, I will launch the largest deportation program in American history to get these criminals out. I will rescue every city and town that has been invaded and conquered, and we will put these vicious and bloodthirsty criminals in jail.” But he left open the question of who exactly all these “criminals” might be, because he seemed to be talking about not just immigrants but also his political opponents, “the enemy within.” The United States, he said, “is now an occupied country, but it will soon be an occupied country no longer … November 5, 2024, nine days from now, will be Liberation Day in America.”

The insults we heard from many speakers at Madison Square Garden, including the description of Puerto Rico as “garbage” or of Harris as “the anti-Christ” or of Hillary Clinton as a “sick son of a bitch”—insults that can also be heard in a thousand podcast episodes featuring Carlson, Elon Musk, J. D. Vance, and their ilk—are part of the same effort. Trump’s electorate is being primed to equate his political opposition with infection, pollution, and demonic power, and to accept violence and chaos as a legitimate, necessary response to these primal, lethal threats.

As I wrote earlier this month, this kind of language, imported from the 1930s, has never before been part of mainstream American presidential politics, because no other political candidate in modern history has used an election to undermine the legal basis of the American political system. But if we are an occupied country, then Joe Biden is not the legitimately elected president of the United States. If we are an occupied country, then the American government is not a set of institutions established over centuries by Congress, but rather a sinister cabal that must be dismantled at any price. If we are an occupied country, then of course the Trump administration can break the law, commit acts of violence, or even trash the Constitution in order to “liberate” Americans, either after Trump has lost the election or after he has won it.

This kind of language is not being used accidentally or incidentally. It is not a joke, even when used by professional comedians. These insults are central to Trump’s message, which is why they were featured at a venue he reveres. They are also classic authoritarian tactics that have worked before, not only in the 1930s but also in places such as modern Venezuela and modern Russia, countries where the public was also prepared over many years to accept lawlessness and violence from the state. The same tactics are working in the United States right now. Election workers, whose job is to carry out the will of the voters, are already the subject of violent threats and harassment. At least two ballot boxes have been attacked.

The natural human instinct is to dismiss, ignore, or downplay these kinds of threats. But that’s the point: You are meant to accept this language and behavior, to consider this kind of rhetoric “baked in” to any Trump campaign. You are supposed to just get used to the idea that Trump wishes he had “Hitler’s generals” or that he uses the Stalinist phrase “enemies of the people” to describe his opponents. Because once you think that’s normal, then you’ll accept the next step. Even when that next step is an assault on democracy and the rule of law.

[doyoulikethissong-poll]

Wham! - Everything She Wants 1984

Wham! were a British pop duo formed in 1981, consisting of singer-songwriter George Michael and instrumentalist Andrew Ridgeley. They were one of the most successful pop acts during the 1980s, selling more than 30 million certified records worldwide from 1982 to 1986, and some of their most famous hits are "Last Christmas", "Careless Whisper" and "Wake Me Up Before You Go-Go". George Michael was posthumously inducted into the Rock and Roll Hall of Fame as a solo artist in November 2023, with Andrew Ridgeley as the induction presenter.

"Everything She Wants" was originally released as a single in 1984 on a double A-side with "Last Christmas". Upon release, "Last Christmas" took the majority of the attention and airplay as it was appropriate in early December as Christmas approached. However, the presence of an equally-billed flip side meant that radio stations had something else to play once "Last Christmas" had lost its seasonal topicality.

The presence of the Band Aid project meant that the double A-side peaked at number two in the UK Singles Chart, although in the process it became the biggest-selling record not to get to number one. However, in the USA, the song did reach number one on the Billboard Hot 100, and became the third number-one song in a row from 1984's Make It Big album. Wham! had two more number-one hits in the UK before splitting at their height in 1986.

Although George Michael bemoaned much of Wham!'s material as he began his solo career, "Everything She Wants" remained a song of which he was proud, and he continued to perform it in his shows. Furthermore, he remarked in an interview (to promote 25 Live tour) that "Everything She Wants" was his favourite Wham! song.

In 1997, the song was remixed and re-released as "Everything She Wants '97" for the greatest hits album The Best of Wham!: If You Were There….

"Everything She Wants" was featured on the official soundtrack album to the 2019 film Last Christmas, and was also featured in the 2013 video game Grand Theft Auto V on the in-game radio station Non-Stop Pop FM.

"Everything She Wants" received a total of 61,1% yes votes! George Michael has previously been featured on the poll with the Stevie Wonder cover "As" at #62, together with Mary J. Blige.

[threetrenchcoatsinatrenchcoat]

NSBU finale predictions

zombie agent Haldwell

they rewind to the beginning and have to find each other while St Jude remembers and hunts them down

Ally intentionally gives themself a third injury level for the turbo tokens

Izzy dms and permanently wildly changes the rules, Brennan spends five minutes afterward justifying why it makes sense actually

everyone briefly switches characters

Jennifer and Matilda make out during the final fight

Doug Meat's a real person

Usha teams up with G13 to double hack the white house from one body

6 wildcard effects go off in sequence and cause dice chaos

Kingskin eats the nuke

there's more poison gas (so Brennan can use the smoke effect again)

right before they get out Bad Bunny (but not J-Kwon) appears with a restored macguffin

Never Stop Blowing Up, the vhs, blows up

Wendell bikes donuts around his siblings and still sees Vic smiling at him through the rear view

Paula steals something

Dang gives his radio equipment a viking funeral in Wolfman Ann's honor

Dang takes over the store

Russell starts HRT

Usha sends her granddaughter an email

Liv and Wendell go on a road trip to vegas

Rashab is real

[theredengineapologist]

*rises from the grave*

WHAT IS UP TTTEBLR? DID YOU MISS ME?

Sorry I went radio silent for, like, months. I got into other things and kinda forgot to log back into Tumblr. But I'm back now and I'm here to bring you ✨J E D✨

I've been meaning to do my own take on Jed for a while ever since Shika posted her Jed. Then Leo made his Jed and, well, better late than never I suppose.

My Jed lore below:

Okay so in my AU (TTTE: Sudrian Boys), the engines learn to shapeshift because they're curious about what human lives are like.

James and Edward are an established relationship, and they've been together for some time. James didn't like taking a human form at first. But over time, he learned how to customize it and having Edward at his side exploring human expression with him helped James regain his confidence.

So for the Jed AU within the AU, I imagine it takes place a little bit after James starts getting used to shifting. He's still adjusting to the new human form, but he's gotten really into customizing it via fashion and accessorizing. He's heard of humans going off to fun places at night, and he's curious to know what it's like.

So James and Edward catch a ride with Connor to the main land. And then they wander into a club.

The music is louder than they care for (they're not used to having the more sensitive ears that humans have). But the beats are nice, and dancing seems fun.

James and Edward dance together, and are lost in each other's company. They feel safe and loved and confident in each other's presence. Until eventually, they quite literally fuse and become one.

Jed's Personality:

As a character, Jed is the personification of how James and Edward perceive each other through their relationship. He's got double the confidence, but is a bit more calm and rational (from Edward's influence). He's also prone to sarcastic quips.

In both engine and human form, he's faster than either James or Edward would be separately.

Whenever James and Edward fuse to become Jed, Jed's outfit uses the combined parts of whatever James and Edward were wearing before.

The unfortunate thing about Jed is that when things go wrong, he's also got double the insecurities from both his parts. He's pretty good at solving other people's/engines' problems. But if he's feeling insulted in some way or is put into an uncomfortable situation that he can't logic his way out of, he's bound to break apart.

[lunarw0rks]

Through The Ashes | Alternate Ending

Summary: You've been given an offer to join the 141 Task Force. Upon taking it, you find yourself ensnared with the mysterious masked man who won't take his eyes off you.

Warning(s): canon-typical violence, mild injuries/gore, gun mention, suggestive content (18+), fluff

A/N: for those of you who desired a sunnier ending, here you go! This was requested by @redhoodsupergirl. the bold text is a passage from the original. I apologize if this is Bestie!Soap erasure h/j (I didn't know how to fit him in)

❥ y'all should comment where you think y/n went during leave, and if you think she ever came back | Word Count: 2.4k

꒦꒷ MAIN MASTERLIST ꒷꒦ GHOST MASTERLIST ORIGINAL ENDING // requests | ao3 ver. | playlist

Alternate Ending

“Good to see you boys again.” The glitched voice emitting through your wire stops you dead in your tracks. You place a hand on Ghost’s shoulder, yanking him to a stop so you can hear it further.

When he does, he sprints to the other side of the large room, checking the entrance and windows for any sign of hostiles.

You look at him wide-eyed, as the line goes dead again. Graves had patched into your frequency and clogged it so you couldn’t reach your team. Whatever he was planning before, it’s here now and there’s no time to stop.

Your earpiece unexpectedly picks up the frequency again when you reach the middle of the dining hall. It gargles out a few words that you can’t understand, and then it emits a high-pitched shriek so boosted it makes you keel over and rip it out.

Ghost moves quicker than before, as your hurried steps try to catch up with him, your boots echoing with each careful stride—as if to not get your foot caught in any of the uneven patches of flooring.

The glass on the chandeliers began to rattle, as did the glassware packed away in boxes. You felt the floor vibrate, and the tarps over the exposed drywall began to whoosh. The electricity flickered as a loud whoosh of a jet passed overhead. The lights exploded into sparks, making you cover your ears for cover.

You had no time to get any closer to the door before the force of a nearby explosion knocked you to the hard ground. The world around feels like it’s been tilted on its axis, and your vision is doubled. You see Ghost already scrambled to his feet, and he’s outstretching his hand to help you up.

You reach for it and just barely brush against his fingertips. When you’re too sluggish, he clasps your upper arm and jerks you toward him, just barely getting you upright.

Another jet passes overhead, and the sound of the engine fills your ears once more. When another bomb drops, it’s closer than the last. You knock into one of the pillars, losing your balance again. A clamorous groan of the building causes him to lose his grip on you, and you’re knocked down again, fading in and out of consciousness.

Ghost comes to, and looks around at the rubble before him. The section you ended up on was completely blocked by walls and exposed cables that shot sparks every few seconds. Besides those, the night sky was his only guide, casting a blue tint on the hotel now in pieces.

“7-1, this is Ghost, how copy?” He spoke into his radio, hoping to hear yours going off in the distance.

“Frequency’s shot…” He growled under his breath, tightening his lip in concentration. Not only was he down his comms, you were on the other side of the rubble, or God forbid, already gone.

Wherever you were, he was going to find you. You weren’t going to fight this alone, no matter what ambush Graves had planned.

He raised his rifle, sweeping the remains for any signs of Graves’ men. His ears were trained on any sound of life, enemy or not.

The place was quiet—too quiet, for his liking. Either his entire team was dead, or another fiery pass was coming.

The only way to the other side of the dining hall was climbing through one of the vents he spotted by the stairs if there was one remaining after the blast. He crept through the doorway, keeping his strides near silent as he made it to the stairwell, which was missing its bottom half now, nearly disconnecting the entire upper level of the building.

He spotted the vent and hoisted himself up on it using the front desk. He felt around inside, making sure it was stable enough to let him crawl through. His rifle went in first, then his upper half.

He inched his way through the tight squeeze, grunting at the strain it was putting on his ribs. He knew that pinching pain, he’d cracked a rib when the second pass sent you both astray. There was no time to whine, he kept army crawling through the vent, finally seeing the literal light at the end of the tunnel.

He made it to the other side, finally around the large lumps of rubble. He slung his rifle back to its previous position as he crept through the dark space, dodging the broken furniture and turning to ash before his eyes.

Finally, he heard the faint gurgling of a radio in the distance, meaning you had to be nearby, or at least your radio was.

His rifle lowered when he saw an arm sticking through one of the chunks of concrete, your full frame covered by a china cabinet that luckily was being held up by one of the remaining pillars. He’d never moved faster, shoving the cabinet aside like it was nothing to him.

His sore ribs screamed as he tore through the decay, finally revealing you to him.

He let out an audible sigh, seeing that you didn’t end up in the gruesome state he was imagining you in when your hand left his. Besides being banged up, it seemed only your foot had been nailed by the wreckage.

He knelt beside you, pressing his two fingers to find a pulse. Faint, but there nonetheless.

“Ghost, what’s your status?” His radio chimed, forcing him to take his attention off you for a few moments. “Ghost, do you copy?” The voice repeated.

“This is 7-1 Ghost responding, solid copy. One injured, working towards an exit strategy now.”

He engaged back, only keeping himself composed because he knew he had a job to do. You. It was his job to get you out of here, and he’d be dead before he failed that job.

Your eyes opened only a small amount at the sound of his rough voice. You were too out of it to be of any assistance, or to figure out what the hell happened for that matter.

When you tried to move yourself out of the odd position you were in, he pinned you by the shoulders. “Don’t move your legs.” He muttered, scanning the situation around him for a way to jack the rubble up and free the foot.

You had no choice but to lay there, coming in and out of prudence. The only pain you felt besides a small headache, was a persistent compressing sensation in your right foot.

He managed to use one of the boards as a jack, hiking the block up enough to shove your foot out from under it.

You groaned at the sudden release of its pressure, which only unleashed the pain the lack of blood flow was preventing. At least you knew your foot still had some nerves left, if you were in a position to think of the silver lining.

“Lean on me, Sergeant.” He wrapped his arms around you, using all his strength to get you upright. There was no way you’d be putting weight on your leg, so he not only had to guide you out of here, but now he had to find an exit.

Your head fell forward as he practically dragged you along, unable to hold any part of yourself together.

“I got you…” He kept repeating it as if he was also comforting himself. He pulled out his sidearm, keeping it at the side with his free hand.

He squinted into the void, finding a patch of wall that had a hole big enough for the both of you. That was his best bet.

There was no guarantee this “convoy” would be out there waiting for you two, in position to neutralize the two of you the second he crawled through. That was the risk he was willing to take. 

Worst case; you looked mangled enough, that if he needed to shield you while being pumped with bullets, there might be a chance of you passing for a dead body.

“7-1, approaching the South side. Is it clear?”

“All clear. No sign of hostiles since the blast.”

He threaded himself through first, scanning the hillside to be sure of its safety first just in case. He leaned through wrapping your arms around him first, then lifting you so you would have to put pressure on the leg.

When you’re both through, he slithers down the tattered village, looking for any sign of the team.

He spotted the emergency lights in the distance, finally finding the triage center Price set up. When the superior turns his head, seeing Ghost’s outline carrying your unconscious self, he runs over, helping to distribute some of your dead weight.

“Leg injury, concussion too,” Ghost spoke in a pressurized tone as you were passed along to the medics. Price watched Simon with concern, privy to his attempts at hiding his own injuries—he’d done it many a time before.

Captain Price replied sternly, making sure the entire Task Force was at his attention.

“I want us all out of here before Graves gets a hold of another bloody missile. We’re going to recover, and then come at him hard.” 

—

The four hours it took for your surgery to finish, he spent pacing in his dorm, despite the nurse’s orders to stay off his feet. He did indeed have a rib fracture, and he was lucky that’s all had, according to the medics.

A soft knock at his door halted his anxious pacing, making him hastily open the door. He was greeted by Price, whose professional poker face wasn’t doing Simon’s unnerve any favors.

“Hospital called me. The surgery went just fine, but they’re keeping her for observation.”

If he wasn’t so experienced in keeping his composure, he would’ve jumped into his car and driven there that second. Price kept the announcement short, and continued on his way back to his office.

Despite whatever came of all of this, you were out. He’d gotten you out, and you were now free to get out of this hellhole before it swallowed you.

That look on your face when you asked him about the violence, and how everyone else carried on like it wasn’t making them sick to their stomach.

That look was the reason you needed out of this life. He wouldn’t deny your skills as an operator for a minute, but you weren’t broken like he was. Not yet. If you were to have second thoughts about stress leave, he’d push you out the door himself. Nearly losing you today was enough convincing.

—

Simon stared blankly out the window of the bar he’d picked out.

Every vehicle that pulled into the lot made him straighten his posture, hoping it would be you each time. Finally, a taxi pulled in, and he saw your familiar figure step out. The dim lights on the entrance didn’t do much to reveal your state to him as you passed the windows, making your way towards the entrance.

The ding of the bell above the door makes him set his bottle down and lift the scowl off his face.

“Thought you wouldn’t show.” He said as you approached the booth, a large cast on your right leg, and a few scrapes in the process of healing.

“Why not? You pulled me out of a burning building, L.T.” You carefully tucked your leg into the booth, shifting in the cushion to get comfortable. The limited movements were something you still needed to get used to, but you were glad to even have a leg.

“Simon.” He says, making you lift your eyes from the menu. “You’re not under me anymore.” The last sentence sounded like a justification as if that wasn’t his real reason for letting you use his name.

If you had told your past self, the newbie with a fresh hatred for him, that you’d be sitting in a bar having a civil conversation—you’d have thrown a fit.

The drink he ordered for you arrived; a stout, of course.

“How’s the pain?” He asked, attempting to mask his concern as he finished off his pint.

“Burns sometimes… but other than that, no nerve damage.” You responded, resting your chin on your fist.

“Shouldn’t put a damper on your vacation then, right?”

You chuckled at his attempt at humor. “Not on my watch. I’ll be relaxing with one leg up the entire time if I can help it.”

His eyes scanned you in an up-and-down fashion as you sneered—like you’d noticed him doing many times before. At least this time it wasn’t lustful or hateful, it was civility.

You both enjoyed a few drinks, keeping up the friendly banter through the entire evening. As the bartenders began wiping down tables and flipping chairs, he placed a bill on the table and walked you to the door.

You turned on your phone, checking the time. “I should get going. My flight was pushed to to tomorrow morning.”

“I can drive you, in the morning?” He proposed, stuffing his hands into the pockets of his hoodie.

You smirked and stepped a little closer. “I think we’re past sharing car rides with one another, Simon.” You had flashbacks to the last time he drove you somewhere, which only ended in a very risky hookup.

You could picture the reddened cheeks he had, even through the mask. His mouth said nothing in response, but his eyes had a way of uttering the words ‘Touché’ at your brazen remark.

He’d die at the chance of touching you again, but you weren’t in any position physically; emotionally, you were right about one thing—the impure mistakes you two made on your journey to this point.

You opened the taxi app you’d used previously and arranged your ride back to the hotel, exchanging glances with him as he watched you. You slid your phone into the pocket of your wallet, waiting patiently for your ride.

Like many times before, the silence between you two was more than enough conversation. Though there were thoughts racing through his head the entire time, he wasn’t sure where to start.

The crunch of the gravel under the taxi’s tires woke you both up, making you turn to one another for your farewell. A hug too innocent, a handshake too professional, and words unjust.

As you approached the car door, he cleared his throat to get your attention. He’d be damned if he didn’t get this out of his system before you leave the Task Force and possibly never see him again.

“Did you bring your files with you?” He asked, making you contort your brows in confusion. Files?

“The number listed on mine,” he began, shifting in his stance as he gathered the courage for his brave finish.

“You should call it.”

TAGLIST: @neoarchipelago @ghostlythots @gothgirl6-6-6 @cloudyyjanee @ladyelissarose @almightywdm @glitterypirateduck @brokenghostgirl1 @cheyenne-with-a-c @a-jupiter-n-mars-blog @liliumbosniacum (if you're not tagged it's not letting me)

[chelledoggo]

My Analysis of "Lazarus Drug" by Meg Washington, and how it pertains to Bluey's "The Sign" [MASSIVE BLUEY SPOILERS]

(This post is going to deviate from my typical "all lowercase" typing style because I kinda want it to be taken seriously lol.)

So, I was doing some dishes earlier, and I started thinking about the song "Lazarus Drug" by Meg Washington. I started mulling over the lyrics and thinking about how it was used at the ending of the Bluey special "The Sign." The wheels kinda started turning and I felt compelled to attempt to present my interpretation and the thoughts I have about it.

Now, I'm not a music theorist or a seasoned philosopher or TV critic. I'm just about as much of a layperson as one can be. I'm just kinda calling things as I see them.

Although only the final portion of the song was used in The Sign, I wanna go over the full version of the song to give a better understanding of what all the pieces mean put together.

This probably won't be a play-by-play of every lyric (because I'm not that smart lol), but I'll do my best to get the point across.

Let's begin!

[MASSIVE BLUEY SPOILERS BEGIN BELOW THE CUT]

I am asleep, I am a slug I am a thief, I am a thug

The first lines of the song give the impression that the singer perceives herself as an impure person. She seems to bring attention to her vices of focusing too much on the self to the point where it could potentially hurt others.

You are grace, you are belief You are a Lazarus drug

This is where the song title comes in, and this section in particular is clearly very heavy on Biblical imagery.

Lazarus was a figure in the Bible, specifically the Gospel of John (John 11:1-45). He died of illness and had been in the tomb for four days. Jesus loved Lazarus so much, that he had wept upon the confirmation of his death. He then went to the tomb where Lazarus lie and resurrected him.

Note how the singer refers to the subject as a "Lazarus drug." When you think of a drug, you think either of something meant to treat an illness, or something meant to give someone a high. However, in this case, I think it's both.

Meg Washington said the following in an interview with ABC's (Australia) Double J radio station:

"'Lazarus Drug' is a song about love and euphoria and revival. It's really just an ode to whatever it is in your life – or my life – that makes you feel like rising up and floating in the middle of the air and splitting into light beams of happiness. "Writing this song was really special for me, because every time I sing it I feel the same way that I felt when I wrote it. I really wanted to make something that sounded like how we can make each other feel if we try very hard to share love."

The subject of the song is a loving, caring figure. You could even argue that they are a Christlike figure. The love and compassion that they extend to the singer not only heals their pain, but makes them feel high, as illustrated in these lyrics a few lines later.

And when you make A perfect circle in the sky I get so high I get so high I'm like a planet And I can't come down Oh, I can't come down

The next verse begins like this:

You are an angel And when you weep, the heavens rain I am a mermaid, eating at the sushi train

The "mermaid at the sushi train" metaphor is kind of up in the air, but I believe it might once again be highlighting the singer's selfishness.

Like, why would a mermaid be eating sushi? Why would she be eating her little fishy friends? Like imagine if Ariel was advertising frozen fishsticks... Oh wait...

It seems like a metaphor for thinking more about your own hunger rather than the needs of those you're meant to care for.

We sort of see this in both Bandit and Rad's subplots in "The Sign."

Bandit gets this high-paying new job in another city. He's going to have to uproot his family's life and take them away from the people they love and care about in Brisbane. However, Bandit doesn't really seem to consider too much how this might emotionally affect Bluey and Bingo. The way he sees it, he's doing the right thing. He believes he's guaranteeing a bright and comfy future for the Heeler family. He means well, of course. But in this case he's being so short-sighted that he doesn't seem to really take his family's feelings into account.

Likewise, Rad plans to move himself and Frisky out west after their wedding... Except that he didn't bother bringing this up to Frisky herself. His motives were arguably even more self-centered and short-sighted. He didn't bother asking Frisky how uprooting her own life would affect her. He just... assumed he could just smooth it over after the wedding. (I love you Rad, but... dick move, man. Dick move.)

But when you look in me With language in your eyes I get so high I get so high I'm like a planet And I can't come down

When the singer stops and looks at the subject, gazing into her eyes without needing to say a word, that "Lazarus drug high" comes back. She realizes that she's not in it alone. That there's people around her that love her and care for her, and they matter just as much as she does.

When Rad finally catches up to Frisky at the Lookout, they have this moment:

Now at surface level "I know you like it here" could just be referring to the Lookout, since it's one of Frisky's favorite places. But on a deeper level, I think we can tell what this really means. It's referring to Brisbane. You can even see the city in the background here.

Rad finally wakes up and realizes how much Frisky's home means to her. Neither one of them has to say a word about Brisbane for us to know that Rad's had a change of heart about moving. The way they look at each other during this scene speaks volumes.

Likewise, there's... the moment.

Moving day.

I feel it in the morning I feel how low it lies And then I hear you calling And then I start to rise I feel it in the morning I feel how low it lies And then I hear you call my name And then I start to rise

The Heeler house is all packed up in boxes, and the family is getting into the car to leave their driveway for the final time.

But just as Bandit's about to get in the driver's seat, he stops to answer a call from Bucky, letting him know that the Sheepdogs decided at the last minute not to buy the Heeler house.

After the call ends, Bandit walks over to peel the "SOLD" sticker off the "For Sale" sign.

He then gazes back at his family waiting in the car. No words are exchanged. He just takes a moment to look into their eyes. He's reflecting on what this move will mean for them. He remembers all the sorrow Bluey and Bingo endured over the revelation.

And suddenly his eyes are opened to what really matters...

And when I hear you calling Like you were always there I rise until I'm hanging In the middle of the air

He grabs hold of the sign, pulling it with the strength of two Bandits.

And when I hear you calling I split like I'm a snake With golden light like fingers And then I start to break Into a billion pieces

And...

...YEET.

Oh, I shatter into constellations Like I've never been more here Like I completely disappear

The ego shatters. Bandit foregoes the self and realizes his oneness with his family. That they all matter. That what they have in Brisbane is beautiful.

Sure, he could assure himself a cushy high-paying job and ensure a "comfy" life for his family.

But his family was already comfortable. More than comfortable, even.

His preconceived notions of what a "good life" could be disappear, because he knows they already have a good life.

I'm nothingness, but shining And everywhere at once I'm everything and everyone who is or ever was

Now this line is particularly interesting to me.

In eastern spirituality, especially Buddhism, there's a concept of "emptiness." Basically nothing and no one exists purely in and of itself. "Everything and everyone who is or ever was" exists because of interconnections through other factors. There's no inherent "thing" or "self." We're all one.

The words "emptiness" and "nothingness" in our western mindset seems to denote a feeling of despair and sadness. I think this is why Meg chose to word it as "nothingness, but shining." In the eastern mindset, "nothingness" is something that is shining and beautiful. It's not a sense of loneliness, rather a sense that you are not alone.

Bluey isn't a stranger to incorporating eastern spiritual thought into its episodes. Probably the most famous example is the episode "Bumpy and the Wise Old Wolfhound," which is loosely based off the Buddhist story of Kisa Gotami. The episode "Hide and Seek" alludes to the practice of mindfulness meditation, which is a practice rooted in eastern traditions. You could even argue that the episode "Slide" has themes of Ahimsa, the eastern principle of nonviolence and not causing harm to other living things.

Even "The Sign" incorporates the Taoist parable of the Farmer, which teaches about accepting the unexpected of life, and not labelling anything as "fortunate" or "unfortunate."

I also personally see themes of the aforementioned principle of interconnectedness. The whole episode is basically a literal "butterfly effect." Every little thing, from Frisky leaving the wedding and the Heelers going to look for her, to Flappy (who originally appeared in "Slide." Oh wow, this goes deep!) flying into the Heelers' car, to Bluey finding a lucky coin, only for it to get stuck in the binoculars that the Sheepdogs later use to spot their new dream house... it all leads up to the ending.

The ending in and of itself can't really be labelled as a perfect happy ending, either. Bandit can no longer accept his new job, and will probably need to find new work in Brisbane. How will it go?

"We'll see."

And You're nothingness, but shining And everywhere at once You're everything, we're everyone who is or ever was, forever

The final lines are just a pronoun switch of the ones before them. This could be interpreted in multiple ways. The singer could be addressing the subject of the song, but she could also be addressing the listener.

The song ends on a reminder that we're all connected. We're affected by the circumstances we face, including the love we're shown by others. Likewise, the love we show others affects them and those around them.

Isn't that kind of one of the overarching messages of Bluey as a whole? How we treat others - our friends, our families, our children - goes a long, long way.

...

WHOO. That ended up being more of a ramble than I thought.

Anyway, I'm just calling this as I personally see it from my silly overthinking layperson perspective. You shouldn't by any means take what I say as gospel, but I do hope I've at least given you something to think about.

And, of course, feel free to share your own interpretations!

If you've made it to the end of this massive skyscraper of text, thank you so, so much. I love you. 💖

[kanmom51]

JK on Bruontheradio - coming soon

*Disclaimer: This post came out way longer than I initially intended it to be, and is a little bit of a brain fart. You have been warned, lol.

Josh “Bru” Brubaker

Love how even with this we have Jimin reference.

JK just cannot help himself.

He did tell us "the love of my life".

And what about the first thing that JK shows us is this:

Bad lighting he probably didn't really count on, but yes, his hand tattoos.

And I know there will be those that will say: "he's showing us ARMY", but I say it's a double for him, cause man ain't stupid, he knows fans will go crazy he's showing ARMY, and at the same time I believe he's showing the JM tattoo as well. You know, the JM that did the exact same kind of clip before him. The JM that spent 5 days WITH HIM in NY (and CT). The JM that is his "love of my life". That JM.

Same JM that @andy-wm wrote a beautiful post about just a few hours ago:

Ok, so I guess I'm going to talk about this here, even though I will probably repeat it many times to come.

Seven for JK is about love not fucking.

There. I said it.

And why do I bring this up here?

Because of the hand he so graciously showed us.

Because of JK's JM tattoo.

Because of said tattoo's placement.

Ring finger. For all to see.

How long have we known the J over the M stood for JM?

Us Jikookers?

I'd say since forever.

It's the rest of the fandom that kept trying to find excuses why it wasn't. Why it stood for everything under the sun other than the obvious. The one person that JK puts above others. The one person JK has been showing for years now that is special to him, in a way that is way beyond even the best of friendships. When you tattoo someone's name on you that is a statement. You are literally branding yourself with their name till the day you die (yes you can erase tattoos, but when you are having a tattoo done that is not what you are thinking of, in that moment in time you are painting your skin for life).

And JK did that. One sided.

He also made sure to let us know that the theories running around for years about what that J meant (you know, the army and J means all the members bullshit) were crap. Yes, he didn't tell us out loud that the J placed over the M stood for JM, but he didn't deny it either. He omitted that. Which is understandable given they are still a closeted couple and we all know that admitting to that, would be admitting to their queerness. As much as JK wants out of the closet, as much as he wants to scream blue murder that JM is his and his alone, he won't do it as long as JM isn't ready. And saying the JM is Jimin out loud, that would be outing not only himself but also the love of his life, when said love of his life is not ready for that yet. So he said the J stands for Jungkook and moved on at the speed of lightening. Without addressing the huge ass elephant in that room - why place it over the M knowing EXACTLY what it looked like? (we know the answer to that, but omitting is the name of the game - said that already).

So yeah, JK tattooed JM on his hand. For all of us to see. And he keeps touching it up. Darkening it. At times specifically those two letters.

I actually had a post in draft that is kind of redundant now, about how I noticed his JM at the airport leaving for the States.

That pinky ring, that actually isn't a pinky ring cause it's JM's ring, which he didn't wear when JM was there in NY with him, but had it back on travelling to London, JM gone back to SK, looks kinda too small even for his pinky, lol.

Now to Seven.

Like I said, JK sees Seven as a love song.

Yes, he sang the explicit version, but that's not what HE feels the song is about. And he's said it multiple times too.

This is what JK thinks about Seven:

and from the MV making:

and:

and from Stationhead radio 20th July appearance:

I think JK is being very clear here. Pity people aren't listening to him. This, for him, is a love song.

Yes, he knows it's very sexual, but it's about being with the person you love more than anything else and wanting to make that person happy. And him saying "the love of my life" that might have been on purpose (wouldn't put it past him) or even as a slip of the tongue, but it cements how he feels about the song, that might not have been written by him, but he most definitley feels an emotional connection with. I'd say kind of like Euphoria or Only then.

And now back to the hand and to JM and their place in JK's promotions for this song.

Not coincidently, JM is laced through every single part of the promotions for this song.

He's in the photo shoot concept.

He's in the MV (yes, what can you do, they had to go with a gf and hetero love story in the MV cause JK's first solo worldwide cannot be a queer love affair MV, that's just the way the cookie crumbles... not New jeans cookie - yuck - just writing that makes me feel ewe...).

He's in the choreography

There are more similarities than those I pointed out in that post. And again, it's not about JK stealing JM's moves from SMF pt. 2 (which we know the man LUVED). It's about JM inspiring him. And believe you me, that JM knew every single step of the way. The song, the MV and the choreo.

It's in the styling (not only the photo shoot).

And JM is just there, with JK all the time, on his hand, just out there for everyone to look and see.

For those saying the J is covered, nope, it ain't. The ring band is see through, cause that's just a thing JK does.

This finger pointing, not intentional in my opinion, just a little coincidence (JK holding the mic, as he does in the GMA performance as well, but in the Explicit performance with no mic in hand he covers his face just like the backup dancers do), and yet, a lovely one at that.

This is the way JK wanted it to be. Since way back in 2019 when he added that J over the M. For everyone to see all of the time!

So, where was I?

To sum this absolutely probably unnecessary post.

JK loves JM.

JK had JM tattooed on his hand.

JK chose Seven because he liked the song (and it's really a good one) and he also connected with it on an emotional level.

JK sees the song as a love song, expressing him wanting and needing to be with the person he loves, the love of his life, constantly, and showing said person how much he loves him and wanting to make them happy.

Yes, there is an explicit version to the song, yay, they replaced "loving" with "fucking". JK sings it, finds it amusing to say the word out loud, but when asked about it, it's the clean version, the love song version that he is connected to.

JK wanted to show us, in the ways that he, as a closeted queer man can, loves JM, is inspired by JM, and that JM is a part of who he is, as a man, as an artist.

Those two may not have come up with the "you are me I am you", but they most certainly took ownership of it. And JK, he's out there showing us just how true it is.

I think maybe it's about time that army:

a. Go read the lyrics to the song and understand that even the explicit version is talking about being with one person, the one you want to make feel good 7 days a week, and not about fucking someone else every day of the week. It's called reading comprehension, I think they need a lesson in that.

b. For once, even just once, listen to what JK is saying, what he's been saying ever since he started the promotion for this song.

This army was listening:

Well, at least to some of what JK has been saying.

I am guessing she's not a Jikooker, lol.

c. This one is for JKKs and PJMs. Try, for just one second, to put your feelings about the way JM's solo debut was treated BY THE COMPANY, and see with untainted glasses just how much this man loves JM. You know how much he promoted him personally and without the company's approval. He adores him, admires him, I'm willing to go so far as to worships him. JM is his catalyst. JM is the love of his life. JK would NEVER do something to disrespect or hurt JM. JK is trying to show us just how much JM is a part of who he, JK, is. He's trying to show us how much he is inspired by JM. How much he loves him. All this anger you are holding towards JK you need to let it go. JK as an artist is not the company as a promoter, they are not one and the same. On the way, I also recommend reading @beautifulpersonpeach's post:

Maybe, just maybe it will give you a little more insight or at the very least food for thought.

Ok, I think that's the end of this one. I kind of think I was all over the place here, and not so sure I got the message through, but it is what it is. Brain farts are not always pretty...

[ja-khajay]

Tagged by @ervona to post about 5 songs I've been listening to lately! Making a little mix and match playlist based on the half dozen tracks on my phone and songs I've recently discovered. I will detail a bit about each under the cut :)

Nouar - Cheika Rimitti (rai)

Twilight of the Thunder god - Amon Amarth (metal)

What's Golden - Jurassic 5 (hiphop)

Sledgehammer - Peter Gabriel (pop)

Potions - Puscifer (? rock ?)

NOUAR

A few months ago, the combination of discovering a rai playlist on Spotify based on an artist I listen to with friends and another discovery of a radio station that exclusively plays north african and middle eastern music, the latter which became my go-to listen on the way from work for a while, I discovered this specific track. It's a huge niche hit, unknown to the general public but racking up in the millions of views online among fans of the genre and it's easy to see why! This is an absolutely hypnotic track which cleverly layers it's intrument with a catchy sung melody, periodically cut by the rythmic choir repeating its title. The main singer in the dialog has an outstanding voice and this all makes for a looping, hooking listening experience that makes you want to play it forever.

Twilight of the Thunder God

In a very different vibe, we have a track that perfectly matches it's overdesigned, historically based (yet inaccurate) cheesy madness of an album cover. This is the only song if this band I'm familiar with as a big hit. Power metal is among some of my favorite genres of music of all time, especially in it's overbearing energy and gratuitous use of double-pedals on the kick drum, fast bass and general theatrics. While I'm not a fan of growled vocals, this track compensates in my mind with one of THE catchiest hooks I know of in the genre. When I listen to TofTG, it's because I suddently remember it one day and get instantly compelled to download it on my phone and scream its lyrics at the sky until it leaves my head where it's stuck. This can take weeks...

What's Golden

Yet another radio discovery! I'm shamefully bad at hiphop, despite liking the genre a lot, no-one around me listened to it for ages so I don't have similar backlog as in other genres and as such as a grown adult am discovering it all with enthusiasm. This song sums up so many aspects I love in the genre which i'll definitly be using to nail what specific sub-genres are my favorite some day... catchy with a great flow and an instrumental that hooks you, it's impossible to not nod along to the beat and drop what I'm doing to listen to the full thing when it comes up on my playlist.

Sledgehammer

Yeah yeah it's a classic you all know it. And for a reason! This is one of, if not the only song I know which I can't separate from it's music video. I typically dislike MVs and prefer listening to music in pure audio format, but Sledgehammer comes with such a well crafted, wlel synched and creative film attached that it's always playing in my head when I hear it. This song was introduced to me by a mutual a few years ago which I'll be tagging in this post later as a thank you! I don't get its appeal as a dancey song, but it's definitly a track to dramatically walk to, which is probably the appeal the rest of this site sees in Once in a Lifetime...

Potions

For the nerds in the audience, this is a Reznor and Maynard collab so you know what you're getting into. The first thing that strikes me in this track is how loud the bass is - it turns the classic rock instrumental it's made from into something else that's just slightly overwhelming. And on top of that, very delicate vocals detail a raw, simple story of love and addiction. Where I chose this song above the many others of the band I'd been listening to a lot last month is this particular theme it has fits very well with a book series I'm reading right now, and it was easy for me to let my mind fly away with it on...:)

***

Runner ups: The Shame Of Life - Butthole Surfers / Ai vist to Lop - Mont-Jòia / Feuer Frei! - Rammstein / For me, Formidable - Charles Aznavour / It Mek - Desmond Dekker & the Aces

***

Tagging, your turn! @steamclouds @prolibytherium @internationalspacehobo @paristonhilll

[fallingblueroses]

Continuation of the Panic! story: what happens after the bomb goes off.

***

Tony stopped screaming, and everything was silent except for what sounded like Earl beginning to cry. Eli knew they were all listening with all their ears, as he was. He could have cried himself as he waited for Geoff to say something, make some kind of noise, anything. Geoff couldn't be dead. Not like this...

After a bit Eli heard a car door slam followed by an engine starting up. The car noises faded, and Eli realized that Tony had left. Had he taken Geoff with him? Was there--

No. He wasn't going to finish that thought.

They all began to struggle against their chains, but Eli's at least held fast. He had to stop and lower his head as the world began to tilt and heave and the pain in his head doubled. His stomach lurched and he fought to keep from vomiting.

Chairs scraped and chains rattled. Layne whimpered in pain now and then. After a long time Eli heard J draw in a long gasping breath, and then begin to mutter to himself as he fought to free himself. "Come on...come on..."

A bit later J shushed them all, and then Eli heard another car door slam. J yelled as loud as he could. "Help us! Somebody please help us!"

A few seconds later there was a new voice. "Dispatch, I've got casualties. Send EMS." Eli sagged in relief. Police, or firefighters, who had no doubt been sent to investigate the explosion. Two sets of feet came walking quickly up to them.

"Did you find Geoff?" J asked.

"You're the first people we've found," another voice said. "What happened?"

J explained in a rapid voice. Eli heard tape being removed, then the tape over his own mouth was removed and the blindfold taken off. Eli blinked to clear his eyes and looked around, but he couldn't see much. Layne was in the chair to his right, his face pale and his left forearm bent where it shouldn't have been. J was to Eli's left, also pale and with blood dried on the back of his head and neck. He couldn't twist enough yet to see Earl.

"Hey, there's a key here," one of the officers said.

Tony must have dropped it when Geoff punched him. Eli heard locks opening as the other officer spoke into his radio. "We have four casulaties with non-life-threatening injuries..."

The first one spoke again. "Lie down on the floor, sir. EMS will be here soon."

"...Suspect is on the run, assumed to have a hostage. Hostage is likely to be seriously injured..."

Eli heard J's locks being undone. The officer helped J lie down, then unlocked Eli's chains and had him lie down next to J before moving to help Layne. It was a relief to be able to rest his head, but his stomach heaved again as everything came crashing on him. One of their friends had gone insane and had almost killed them all. They had been literal seconds away from death...he wondered if his wife would have ever known what happened to him or if she would have thought he'd run off on her...His vision blurred as he stared at the ceiling, and his body began to go numb.

More footsteps. More voices speaking but not to him. "Sir, can you lift up a bit? We're going to put this stretcher under you." Paramedics... "He's on."

"Sir, we need you to roll over a little."

"Okay." That was J.

A face came into Eli's vision. "Sir? Sir, can you hear me?" He tried to answer but words wouldn't come out. "Sir, we're going to roll you over and slide the stretcher under you."

"Watch it. He's bleeding."

He was? Oh...his head. Strange that he hadn't noticed...

The face in his vision looked at someone else as the edges of the world began to crumble. "He's going out."

"Roll him over. On three. One...two...three."

They rolled Eli onto his side as the darkness took him.

[sgiandubh]

Jottings: Season 7, Episode 4. Well then, best not die

As Tom Christie would say, "the Lord does answer prayer, you know": this week has been indeed bigger, better, brighter and more. Tissues might or might not be needed - it's up to you to decide (fun fact, I almost did), but ice cream is a must (steamy moments ahead, ahem).

Back at Lallybroch the pixies broke the alarm clock-cum-radio, while someone is wiping his nauseous mouth with the Declaration of Independence in Wilmington. And there can be no greater contrast when it comes to casting, than the one between SS and Vandervaart. She is trying, bless her heart she does, and it shows a lot. Yet no matter how hard she does it, she will never overcome, I am afraid, that stilted delivery and that genuine uneasiness that make you feel alternatively dismissive and sorry for her. In the economy of Outlander, SS is more than a waste: she is a casualty, because she managed to unwillingly kill Bree, a character with a difficult, often unsympathetic design to start with.

For his first substantial on-screen appearance, Vandervaart passed my scrutiny with flying colors. Now I might be biased, because I am a documented victim of this particular Boston Brahmin charm, that screams old money and boat shoes and Ivy League and effortless sophistication. But it's more than this, of course, and I suspect solid brains and a great deal of preparatory work. This kid has managed to impress me, with his subtle nods to the mannerisms of JAMMF and LJG. The scene with Young Ian and Rollo is flawless. The diction is perfect. He cares for William enough to become William and this is something to behold and applaud.

Both Hunters are quintessential. There is a sort of steel butterfly quality to Rachel and Denzell Hunter's kindness could melt my B&J's Chocolatey Love A-Fair bucket on the spot. Their likeability index will probably increase with time, and not only in this fandom, but also in the silent majority of casuals.

Which brings me to Tom Christie brilliantly showing us that, as my beloved Wilde once said with perfect clarity, "every saint has a past and every sinner has a future". This is the moment when I almost reached for the tissues, because I once was Tom Christie, and I know how damn hard is to keep your dignity in a hope against hope situation. And I could have done without that burlesque kiss altogether: but that is just me.

We've been waiting for this one since the trailer was released or even since I Am Not Alone. At last some bedroom maneuvers that are not: a) scampered; b) implied; c) muted and faded to cheesiness. I didn't even ask for much, did I?

Spoiler: "The thing about Tom is he wants you. Badly." That golden light. That serene grace. That perfect dialogue of bodies and souls. That cheeky raspiness. Not about Tom and not exactly JAMMF. I almost shivered, it was just like the good old times. And then, BAM!

A PLAGUE ON YOUR HOUSE, INTIMACY COORDINATOR VANESSA WOMAN, WHOSE NAME I DO NOT EVEN BOTHER TO GOOGLE AT 03:55 AM LOCAL TIME.

YOU SET OUR HOPES HIGH, PUSHED US TO THE EDGE AND THEN HAD THEM FADE TO THAT TOTALLY CLICHE MIRROR TRANSITION. HELLO? YOU FEEL OK WHEN YOU LOOK AT YOURSELF IN THE MIRROR, WHILE YOU BRUSH YOUR TEETH?

Enough said. And the next lost soul who darts out of Mordor with rumors of body doubles can go directly to jail, not pass GO (heh), not collect $200.

Is next week the Singapore (Sling) one? Lucky I am still in town, then. That is a mystery in the waiting. Onwards.

(Gif taken from @divineandmajesticinone, credits given accordingly - great work!)

[justinspoliticalcorner]

Walter Einenkel at Daily Kos:

Donald Trump is doubling down on his bizarre attack that Kamala Harris “doesn’t like Jewish people”—despite her being married to noted Jewish person Doug Emhoff. 

During an appearance on New York’s WABC radio, Trump targeted Harris for supposedly being anti-Jewish and anti-Israel.  “She dislikes Jewish people and Israel even more than Biden did,” the former president said.  It was the second time in less than a week that Trump used this line in an apparent effort to gain support from Jewish voters.  “[Harris] is totally against the Jewish people,” he said during a campaign rally in Charlotte, North Carolina, last week.  On Tuesday, Trump also used the radio appearance to take issue with Harris’ meeting with Benjamin Netanyahu during the Israeli prime minister’s visit last week. "When she stood up with him, she wanted to get out of there so fast you could see the disdain,” Trump said. “No. 1, she doesn't like Israel. No. 2, she doesn't like Jewish people. You know it, I know it, everybody knows it, and nobody wants to say it.”  “They have let Jewish people down since Obama at levels that nobody could believe possible,” Trump said.

Appearing on WABC’s Sid and Friends In The Morning radio show Tuesday, serial antisemite Donald Trump pushed the dangerous lie that VP Kamala Harris “doesn’t like Jewish people” despite the fact that her husband Douglas Emhoff is a Jew.

See Also:

MMFA: On WABC's Sid and Friends In The Morning, Donald Trump agreed with host who called Doug Emhoff “a crappy Jew” and “a horrible Jew”

From the 07.30.2024 edition of WABC's Sid and Friends In The Morning:

[forflightlessbirds]

liveblogging tmagp 22 except it's really incoherent

INTRO BABY I MISSED TOU

grrrrr alex j newall ily

mixed signals ooohhh

29 minute episode oouhh

IT STATETRD

GWEN BACK. GWEB BWEGGN BACK.

"watching figure you mentioned" NO. STOP STOP SHRJEIF SYOP NDOKS

"i know what you're doing." 2hat

LENA THREATENING. OH LORD. i don't liek womrn but for her

that thing was an EXTERNAL???

DEMOTION?????????? WHATSTT.

don't quit bbg

she didn't!!!!

yeaaah gwen stop being unstable GWEN

stop theyre so. ugh i hate them all

CASEMENT STARETD

it's a lteer???

AUGUSTUS I MISSED YOUUUUUUU

experimentation??

oh no. experiments on thibgs

alarmign results???

EXPERIEMNYS ON PEOPLE??????? STOP THIS.

i must say i don't like this

charts??! brain charts????

using silver for conductivity... ooooyh

you did what with the wires

erratic results??

okay the double coil makes sensw

PHOTO

the work of whom.

REPUTATION???

no no not intensive

he had a RIGHT to be hesitant.

CONSTANTINE

I'M WHAY NOW HE DID WHAT

oh no i don't like this

2 seperate animals in one bofy.. where gave i heard that before.

i can see where this is going oh no oh lord

QUESTIONS OF THE SELF.

as you sjoild

data reviewing.. yaaay

me too bae

OCEAN. NO. NO. NO. NO. NO. NO. NO

RADIO SIGNALS AND OCWANS OG FUCKS SAKES

these two things would never meet

okay fun science

deconstructed them all and did what with then.

WHAT WAS THE DEISGB

oh no no no plumbing

questions of the self part 2: electric boogaloo

TICKING.

"imagine yourself." i don't inow

i kind of love tmagp's more intimate feeling to it. it feels less detached than tma an d i love it

UNCHARACTERISTIC WHIMSY

oh no he's sending

imagine yourself

dead. oh no

yaaaayy activity

TIDAL WAVE IF SIGNAL

i loeeeveee

oh no wait actually this seems Dangerous

FUCK. NO. THERE WILL BE A REPLY????

SMOKE

what on EARTH happened

ursula are you oajy

ursula. what is happening

is he okay?? is she okay???? what's happening

hear WHAT.

be patient with your wife fuckass

OH NO THE PATIENT

oh my lord????

good lord. arteries.

SCREAMING

tetanus comparison

rictus.

his tongue.

crescendo.

cracking.

background music i love it

WHAT.

they severed the sense of self.

shiiiiiit.

IT'S ON THE FLOOR

oh he's dead

"you could not hear it?" what.

"just another case of unfortunate frontier science" die

what did you find. this better have been worth it

a pattern you say

OH SHIT WHAT DID HE REALISW

there's no misfile.

FINGERPRINTS PROVE IT

what did you understand??

"she was always a better communicator than i" yeah makes sense babe

what had she HEARD.

oh my god

oh holy shit

holy shit

we are.

i am here.

here alone

we are i alone

all alone

so alone together

together alone

i think we get the message

he's alone

help

help we us

alone

help out

OUT????

WAIT.

i'm connecting threads.

i don't know what they are but i'm connecting them

violence is discovery of life or something idk man

yeah you delay those findings babygirl

robot voice again

WAIT. I KNOW THAT NAME

casement ends.

ALICE AND SAM

OH SHIT HE KNOWS

i hate her and him and UGH

he knowszs

alice you're really in it now

okay sam you're being a bit mean

but alice is also being a little obsessive

alice is losing all her friends around her.

she's just like me fr

"i just thought that you'd be different. that you might actually listen to me" sobbing

why is she still here. good point.

it's easy money??

oh lord she's me

"we could-" alice honey we all know you're not over him

ohhhh theyr3 so complex ily

OOH WHAT'S HAPPENING NOW

sam and celia oooh

i can't hear a word they're saying actually

SHE CAN EITHER GET OVER IT OR GET LOST??? OUCH.

celia stop encouraging ot. this isn't healthy celia

names??

JON AND MARIOGIB

JMART.

J. MART. MENTION. WHAT. THE.

OH MY GOD

OH MY GOF OGG MY GOFK THEYRU BACK TEHEY RYHD WHAT TTAHT WEHAT DOES YHDI MEAN

EPISOODE ENFS

FUCK

[alias-sam]

Pierced by a Golden Soul JJBA x reader fic Masterlist

Finally decided to crosspost a fic on here, we'll see how it goes!

The full fic is already finished and posted to Wattpad

Summary: Fate is a bizarre concept with countless more bizarre implications. In life sometimes such extraordinary events happen that the only reasoning left must be fate. The tragedies that constantly befall the Joestar bloodline for example may be the unluckiest series of cards drawn in human history, or perhaps the work of a greater power. There is no way to tell for sure. Had Dio Brando or Jonathan Joestar moved slightly on a divergent path the world itself would be left very different. The fate or luck of the noble Joestar bloodline has led to destruction of evil likes of the Pillar Men and DIO. This story is of a similar caliber to that of the other Joestars (as I am sure you are familiar with them). This is a story of lost souls, compassion, hope, and above all fate.

A Normal Day in a Normal Life

2. A Less than Normal Day in the Life of a Stand User

3. High School Never Ends

4. Know Your Enemy Part 1

5. Know Your Enemy Part 2

6. Close Call

7. Getting Patched Up

8. Familiar Figure

9. Punching Can't Solve Every Problem

10. Elecrifying

11. Fiesta Time...?

12. Picture This

13. Video Killed the Radio Star

14. J-Jesus?

15. Jigsaw

16. Blueberry Blast

17. Alfred Hitchcock Can Bite Me

18. Sleepless Nights and Suspicious Minds

19. Bug Boy

20. Cum On

21. Feel the Noize

22. Quiet Riot Part 1

23. Quiet Riot Part 2

24. The Crushing Weight of Guilt

25. Under the Radar

26. Late Night People

27. Unexpected Accomplice

28. Close Encounter

29. Welcome to the Jungle

30. An Enemy's Offer

31. Cutthroat Company

32. Wide Awake

33. Pompous Pricks and Portals

34. Eavesdropping

35. Enemy Encounter

36. Mother Knows Best

37. Dodgeball is a Cruel and Unusual Punishment

38. Spot

39. (Don't Fear) the Reaper Part 1

40. (Don't Fear) the Reaper Part 2

41. (Don't Fear) the Reaper Part 3

42. Sleepover

43. Little High, Little Low

44. Stand Users Assemble

45. Blueberry Blast Strikes Again

46. Coming Through, Coming Through, Coming Through Now

47. Sethan

48. Coral Pink

49. Foggy

50. Bubblegum Bitch Part 1

51. Bubblegum Bitch Part 2

52. Bubblegum Bitch Part 3

53. Bubblegum Bitch Part 4

54. SPW Snooping

55. Enemy Ally

56. Child of Divorce

57. Mannesh Vita

58. Loli ho~ Part 1

59. Loli ho~ Part 2

60. Loli ho~ Part 3

61. Brioche

62. By No Means an Artist

63. Early Morning Excursion

64. Bite the Bullet

65. Stronger (What Doesn't Kill You)

66. Whipping Post

67. Julius Rossi is a Protective Brother

68. The First Cut is the Deepest

69. Put Out the Lights

70. Mourning

71. All Apologies

72. The Noiz Returns

73. Punching Can Solve Certain Problems

74. House of Memories

75. The Last Place Anybody Would Look

76. We Didn't Start the Fire

77. Seeing Double

78. Oblivion

79. Who Lives Who Dies

80. Justice

81. A Normal Day in the Life of a Stand User

<- To Be Continued

[psalm22-6]

On the double casting of Fredrick March as Valjean and Champmathieu:

My dear Fredric March: The other night I was busily engaged with a juicy steak in a Hollywood restaurant, with one ear cocked on your fifteen minute radio interview (the proprietor had humbly asked if I'd mind!) It was a nice interview, but I was fifty percent absorbed in the steak until you mentioned your playing of a dual rôle in Les Miserables. Immediately I forgot the steak, the shoe string potatoes that went with it, and the strawberry pie that came after. Because -- Recently I came away from Les Miserables in transports over a superb piece of acting. Not your Jean Valjean, nor Laughton's Javert. I just took those for granted. It was the forlorn half wit, mistakenly arrested and brought to trial as Valjean -- the bewildered vagrant trying to prove the innocence he feels in his befuddled soul and brain. But I had got in too late to read the cast and could not even guess what magnificent actor, new to Hollywood, was making his début back of those whiskers! What a characterization! The futile gestures, the goofy glint in the eyes, the foolish pleasure at being the center of attention, the helpless awareness of injustice, the inarticulate baffled rage! The whole tragedy of a life, right there before the eyes! J. G. Anderson, Long Beach, Calif.

[Source]