#obsessed with ricky’s vocal tone

[immmortaljunk]

ot9 say my name fucking sick

[lupienne]

https://www.cbr.com/negan-comics-different-series-walking-dead/

I knew this article would irritate me just seeing the title. And it did not disappoint. Do these so-called article writers even research what they're stating as apparent truth? Apparently fucking not.

TV Negan Salt ahead! Sort of. Lol

However, Negan is a highly engaging character himself, one who has transitioned from villain to hero. This wasn’t so clear cut in the comics, though,

Why wasn't it so clear cut in the comics? I thought it was pretty fucking clear. And without the need to fucking retcon naughty actions hoping the audience's 3-second attention span will just forget about it.

Negan Was Actually A Used-Car Salesman In The Comic

For some reason, the TV series didn’t adapt Negan’s background as a used-car salesman, instead settling on establishing him as a gym teacher by profession. This was the background of the character before the zombie apocalypse took place.

The TV series left out Negan’s use of his talking skills to get his prospective customers to purchase his cars, with the gym teacher history not really factoring into anything. His part-time work as a used-car salesman was meant to show how Negan wanted some level of control in his own affairs.

Hey, you want to know the real reason the tv show left this out? BECAUSE IT'S NOT IN THE FUCKING COMIC. ANYWHERE.

He isn't shown selling cars. He isn't shown using his 'skills to get customers to purchase cars.'

The car salesman thing is in his wiki, because someone took a JOKE by Kirkman in the Letters section of the comic seriously.

HE IS NOT A CAR SALESMAN ANYWHERE IN COMIC CANON.

Research, what's that? Duhrrr.

The TV series probably wanted to avoid painting Negan as too much of a weirdo, as the comics’ version was very vocal in his uncomfortable obsession with the bat and how he described the ways he wanted to love it.

Negan is supposed to be a fucking weirdo, not some boring normal. He's supposed to be obsessed with Lucille and personify her, and even risk his safety to keep her 'safe'.

Puh, at least comic Negan isn't a 50 year old lecher.

What the TV series hasn’t adapted is the character’s preference for violence even after he had turned into one of the good guys.

He displayed this when he took out Brandon, having killed the boy purely because he wanted to despite Brandon’s idolization of him. Meanwhile, the TV version killed Brandon due to the latter’s villainy as he had originally wanted Brandon to leave him alone

Oh, you mean how the show retconned him into a pure little Saint like he got a lobotomy while he was in prison?

Fucking wrong. Comic Negan didn't kill Brandon Rose just because '"he wanted to". He killed him because Brandon was a fucking sociopath who wanted everyone in Alexandria (including Negan's darling Ricky-poo) to die. He actively let Negan out to make this happen. Negan killed him to eliminate a threat. Oh and because he was annoying. Sure. Lol.

Also, Comic Negan has a willingness to do violence. Not necessarily a preference.

This was an exclusion of the source material, where Negan willingly exiled himself after seeing the failure of his ways.

His reasoning to do so was to pay for his sins, especially the fact that he’d made Maggie a widow. Comic book Negan remained so steadfast over wanting to be in exile that he continued to do so more than two decades later by the end of the comic series.

I'm not sure this is true. I think Negan would've stayed in Alexandria if Rick had let him. I'm not sure how willingly he lived alone, considering he was unhappy being so disconnected from others. Also, with Negan Lives, we know he at least traveled with Lucy for a while.

as he wasn’t keen on using firearms. He only did so begrudgingly during the Whisperer war, while always favoring the use of Lucille.

Negan uses guns in Here's Negan and even says they're cool. Later he tells Rick it's stupid to use guns on the dead. He's got a lot of armed guys protecting his back so he didn't really need one. Also he didn't begrudgingly anything in the Whisperer War. He wanted to have a gun!

His God Complex, Where People Would Follow His Every Command

The TV series made sure to leave this part of Negan’s characterization out, as it depicted him as an opportunist who used people as a resource rather than disposing of them after they outlived their importance. The comic book version veered heavily toward him being worshipped, proving his God complex.

Since Negan’s violent tendencies were toned down in general, it’s more than likely that the TV series didn’t adapt this part of Negan to avoid making him an irredeemable villain. Still, it’s a pretty vital part of his personality from the comics that didn’t show up onscreen.

This is so laughably wrong that you know that this writer never read the comic. I can't even. All of this shit is more indicative and more dialed up in the TV VERSION.

Please, TV Negan didn't use people? He treated his people like trash. He gave them numbers instead of names. He set up his own guys as killable bait, something comic Negan would've never done.

People kneeled to comic Negan one fucking time. They didn't constantly refer to themselves as 'Negan', thus erasing their identities. That was TV shit.

Oh sure, his violence is toned down in the show which is why only the tv version was gonna kill Dwight and Sherry, only the tv version BURNED SOMEBODY ALIVE, only the tv version was split seconds away from caving Carl's head in and only the tv version threatened to make Rick chop off his kid's arm. Hahaha, you're so funny article.

So you're saying the show wanted to avoid making Negan an irredeemable villain which apparently is what the comic version from this comic you clearly never read is. Well, I gotta say, when the tv show relies on retconning to make this happen... And the comic doesn't, well now. Who did the better job in achieving that?

[wknc881]

ALBUM REVIEW: FLIPPER- Album- Generic Flipper

BEST TRACKS: Ever, Life is Cheap, Sex Bomb

  It was on a 1983 Bay Area public access television performance that Flipper’s Will Shatter told his increasingly frustrated interviewer that Flipper wasn’t a punk band.  Now, this could simply be relegated to the band being characteristically difficult; after all, they had spent the last hour in their shaved heads and ratty jeans screaming through a comically overdriven bass.  They may have not literally been the Ramones, but sonically and rhetorically, Flipper fit well within the emerging West-Coast scene among Bay Area contemporaries like the Dead Kennedys or the Units and LA bands like X, Germs, and Black Flag.  But Shatter’s prescription can’t fully be dismissed as a punk insistence on outsiderdom. Flipper was different. The core of punk rock insisted on a visceral release of frustration, a direct line from a performing band to its audience and, on a larger scale, the entire surrounding society they were so disillusioned with.  With an insistence on such caustic expulsions, simplicity is required. Any ornamentation would impede the central thesis behind the music’s very insistence, and therefore, punk’s simplicity is indirect. Flipper, however, made this simplicity the main tenant of their musical philosophy. Rather than a necessity placed to prevent collapse under the weight of anger, they distilled and subverted music itself into their own warped, inflamed expression.  Flipper wasn’t a punk band, it was a deconstruction band.

  Flipper was born out of 1979’s San Francisco to parents Ricky Williams, Ted Falconi, Steve DePace and Will Shatter. Falconi, a Vietnam vet, distinguished himself as a guitar player through his insanely distorted, mid-heavy, disgustingly compressed tone while Shatter’s bass was almost equally as overdriven while relishing in the uncomfortably trebly territory.  Williams was replaced by Bruce Loose before the band could record anything, and both Loose and Shatter switched between bass and vocal duties. After releasing a handful of singles (most notably Sex Bomb, an eight-minute sludge of Shatter screaming “She’s my sexy bomb, yeah” over and over) Flipper came out with their debut full length, Generic Flipper, on San Fran’s Subterranean Records in 1982.  It was slow; it was sardonic; it was annoying. Today, it remains Flipper’s most recognizable and fully representative work, melding Black Sabbath’s distorted doom into the Sex Pistol’s irreverence and debauchery. Caught in between the two distinct phases of punk which respectively emphasized excess and self-discipline, Flipper existed as a band without a country. The band took no issue with excessive drug use (Shatter died in 1987 of a heroin overdose), yet didn’t romanticize their self-destruction.   They were a crusty group playing crusty music that made even the crustiest fans squeamish and irritable.

  In a time where punk was getting faster, angrier, more confrontational, Flipper insisted on slowing down and laughing at the crushing weight of the world rather than trying to move it by force.  In Generic Flipper’s opening track, “Ever”, Bruce Loose belts out mind-numbingly basic, yet frighteningly resigned lyrics such as “Ever live a life that’s real/Full of zest, but no appeal, Ever want to cry so much/ You want to die”.  The bass and guitar are both distorted to oblivion, melting into one syrupy entity and trudging the song along at a tempo that is frustratingly slow.  Do-wop claps are placed behind the horribly mixed drum kit, all culminating in a song mocking every single person who has ever expressed any sort of happiness at any point in their lives.  And the rest of the album continues in this exact same vein. Shatter and Loose take turns being obnoxiously sarcastic, yet it’s hard to believe that the defeat that they so adamantly preach isn’t at least a partially lived-experience. “Life is Cheap” begins with a doom metal riff played with Falconi’s ridiculously cheap sounding tone, and the drums (which sound like they were recorded by a teenager in a laundry room) begin about 15 seconds in to lock the 4-minute long song in a seemingly unending groove.  And Sex Bomb makes another appearance. The eight-minute fart of a song features Shatter screaming at the top of his lungs while his typical sludge infested backing is supplemented by a saxophone of all things. It’s as if Flipper dressed up like the Rolling Stones only to pull down their pants and shit directly on the stage.

  By the early 80s, punk was getting faster, angrier, more macho, obsessed with self-discipline and abrasively bettering the world.  But Flipper was decidedly not that. As the Black Flag’s sped up to explore the capabilities of what punk could mean, Flipper insisted on slowing it down, making it increasingly unpleasant and wholly nihilistic.  They were hated and probably rightfully so. However, whether intentional or not, Flipper was responsible for generations of noise and sludge expressions which defined American post-punk alternativism. Generic Flipper was a brutally simple collection of noise paired with often juvenile pessimism. It can kind of be looked at like the piece of modern art that’s just a white canvas.  You could have done it, but you didn’t.

-Cliff Jenkins